Vocal by Ray Eberle, Album) by Buddy G. Number one for four weeks. Call and response vocal by Glenn Miller and Ray Eberle. Number two for 1 week. An instrumental, arranged by Bill Finegan and recorded by Miller in Vocal by Ray Eberle.
Number one for 4 weeks. Traditional, although the songwriting credit is sometimes assigned to Joseph Eastburn Winner,  who published a version in Vocal by Marion Hutton. Number one for 7 weeks. Flip side of "Over the Rainbow". Halloween song. Flip side of "The Man With the Mandolin". Number one for 3 weeks.
Number one for 1 week. Number one for 13 weeks. Composition was credited to Jerry Gray, but fragments of the song had been found in earlier recordings dating back to the early s. War Department. Number three for 1 week. Number two for 9 weeks. The Bluebird 78 single made Billboard's chart instaying for 2 weeks.
Selling a reportedpressings the first week of its availability, "Tuxedo Junction" was number one for nine weeks on Billboard's Juke Box chart. Buddy Feyne added lyrics. Glenn Miller copyrighted his arrangement of the song on February 8, Number two for 5 weeks.
Number one for 5 weeks. Vocal by Ray Eberle, Ahmad Jamal - Jamal At The Penthouse two for 2 weeks.
Please note I cannot value your Dylan rarities - see the Mission page for reasons why. Contact the dealers on my Trading page for assistance! For details of the withdrawn original album with four replaced tracks, see Tape Releases: 4-track and 8-track Cartridges. The running order is changed as follows, to make both programs of equal length. Thanks to Hans Seegers for information and scans. This album Peter Potamus (Curtain Calls) - William Hanna & Joseph Barbera - Hanna-Barberas Pic-A-Nic Basket Of never released in France on stereo vinyl!
The early s release above has a folded card insert with details of other contemporary Columbia cassette releases on the reverse, mostly from The cassette has Dolby noise reduction and is light grey with black text, there are no paper labels. The mid s release has a barcode on the front of the insert.
The reverse of the insert is blank. The cassette is again light grey with black text, there are no paper labels. It has the upside down triangle in a circle on Side 1 introduced on record labels and cassettes with Biograph in Thanks to Gerd Rundel for information and scans. Scans required! Walter Roedl has a copy of this cassette release that has a folded card insert which includes the Nat Hentoff sleeve notes on the inside.
The cassette is light grey with orange CBS paper labels. My own copy looks like a later release - it has minimal artwork without the sleeve notes and an off-white cassette with black text printed directly on it, there are no paper labels.
Both releases have only a crop of the front photo, but my later release shows more of the original picture. Further information: Production of phonograph records. This section needs to be updated. Please update this article to reflect recent events or newly available information.
April See also: Vinyl revival. Archived from the original on Wired UK. The talking phonograph. Scientific American, 14 December, Retrieved Time Inc: 87— Music Educators JournalVol. The Recording and Reproduction of Sound revised and enlarged 2nd ed. Indianapolis: Howard W.
London: British Library. Archived PDF from the original on 22 December Retrieved 16 December The New York TimesFebruary 23,p. Archived at the Wayback Machine Front page. Cambridge University Press. Archived from the Let It Be - Various - All This And World War II (8-Track Cartridge on — via Google Books.
University Press of Florida. Archived from the original on July 11, Retrieved July 11, Archived from the original on March 29, Retrieved September 27, Peyton's Big Damn Band".
Archived from the original on 5 November Retrieved 4 October Oxford University Press. Walker Spalding, Lincolnshire: The Authors. London: The British Library.
Popular Science. Bonnier Corporation. New York: Billboard Publishing Co. Sound recording: the life story of a technology. Greenwood technographies. JHU Press. Audio signal processing and coding. Let It Be - Various - All This And World War II (8-Track Cartridge from the original on 25 September American record guidep.
Aardvark Mastering. October 16, Album) from the original on November 15, Retrieved November 10, The Vinyl Factory. Archived from the original on 2 February Let It Be - Various - All This And World War II (8-Track Cartridge Talking Let It Be - Various - All This And World War II (8-Track Cartridge Review International.
Ernie Bayly, Bournemouth 38 : — Record Industry Association Let It Be - Various - All This And World War II (8-Track Cartridge America Inc. Archived from the original on 4 October The Record Collectors Guild. Accessed January Album), It's been said to be less noisy, which really has more to do with the grade of vinyl. Archived from the original on March 15, Retrieved June 22, Album) from the original on October 17, Retrieved 29 June Recollections guide to collectible LPsvolume 1, p.
In Glen Ballou ed. Howard W. Album) Signal Audio Design. Archived from the original on 24 October Retrieved 20 October Archived from the original on November 20, Retrieved September 18, Haber Journal of the Audio Engineering Society. Archived PDF from the original on Entertainment Weekly Hal Leonard Corporation.
Journal of Popular Culture. The Business Online. Archived from the original on 31 December Retrieved 14 January London: Telegraph. Archived from the original on 14 March Rolling Stone. The Sydney Let It Be - Various - All This And World War II (8-Track Cartridge Herald.
Archived from the original on January 27, Archived from the original PDF on Archived from the original on January 9, The trend to buy vinyl records continues. Since has the global sales increased from approximately 3. Despite this, is it still a small part of the total record sale.
In Sweden was The artists who sell most ar usually older artists and records. Music Year-End Report". Archived from the original on 3 June And UK - hypebot". The New York Times. Archived from the original on 22 June Fadeyev, V. Lawrence, Harold; "Mercury Living Presence". Compact disc liner notes. International standard IEC Analogue audio disk records and reproducing equipment. Third edition, International Electrotechnical Commission Broadcast Transcription Discs.
Third Edition. Ashgate, Carson, A. Burt, and H. Physical audio recording formats. Music box cylinder or disc 9th century Mechanical cuckoo early 17th century Punched card Music roll Phonautogram Tefiphon early s Teficord early Human Nature (Acoustic Version) - Billy Crawford - Groove Tefifon Dictabelt Wire recording Magnetic stripe card Music technology.
Mechanical Electrical Electronic and digital. Digital recording Digital signal processing. Phonograph cylinder Phonograph record LP record production. Music industry. Concert Concert tour Concert residency Music festival Music competition. Music award Best-selling music artists Best-selling albums by country Best-selling singles Highest-grossing concert tours Highest-attended concerts Global Recording Artist of the Year.
Audiences used to acoustic phonographs and Nothing Can Come Between Us - Sade - Stronger Than Pride would, in the theatre, have heard something resembling s " high fidelity ".
However, in the days of analog technology, no process involving a separate disk could hold synchronization precisely or reliably. Vitaphone was quickly supplanted by technologies which recorded an optical soundtrack directly onto the side of the strip of motion picture film.
This was the dominant technology from the s through The World Is Waiting - Frank Popp Ensemble* - Touch And Go s and is still in use as of [update] although the analog soundtrack is being replaced by digital sound on film formats.
There are two types of synchronised film soundtrack, optical and magnetic. Optical sound tracks are visual renditions of sound wave forms and provide sound through a light beam and optical sensor within the projector. Magnetic sound tracks are essentially the same as used in conventional analog tape recording.
Magnetic soundtracks can be joined with the moving image but it creates an abrupt discontinuity because of the offset of the audio track relative to the picture. Whether optical or magnetic, the audio pickup must be located several inches ahead of the projection lamp, shutter and drive sprockets.
There is usually a flywheel as well to smooth out the film motion to eliminate the flutter that would otherwise result from the negative pulldown mechanism.
If you have films with a magnetic track, you should keep them away from strong magnetic sources, such as televisions. These can weaken or wipe the magnetic sound signal. Magnetic sound on a cellulose acetate film base is also more prone to vinegar syndrome than a film with just the image. For optical recording on film there are two methods utilized. Variable density recording Album) changes in the darkness of the soundtrack side of the film to represent the soundwave.
Variable area recording uses changes in the width of a dark strip to represent the soundwave. In both cases, light that is sent through the part of the film that corresponds to the soundtrack changes in intensity, proportional to the original sound, and that light is not projected on the screen but converted into an electrical signal by a light sensitive device.
Optical soundtracks are prone to the same sorts of degradation that affect the picture, such as scratching and copying. Unlike the film image that creates the illusion of continuity, soundtracks are continuous. This means that if film with a combined soundtrack is cut and spliced, the image will cut cleanly but the sound track will most likely produce a cracking sound. Fingerprints on the film may also produce cracking or interference.
In the late s, the cinema industry, desperate to provide a theatre experience that would be overwhelmingly superior to television, introduced widescreen processes such as CineramaTodd-AO Let It Be - Various - All This And World War II (8-Track Cartridge CinemaScope. These processes at the same time introduced technical improvements in sound, generally involving the use of multitrack magnetic soundrecorded on an oxide stripe laminated onto the film.
In subsequent decades, a gradual evolution occurred with more and more theatres installing various forms of magnetic-sound equipment. In the s, digital audio systems were introduced and began to prevail.
In some of them the sound recording is again recorded on a separate disk, as in Vitaphone; others use a digital, optical sound track on the film itself. Digital processes can now achieve reliable and perfect synchronization. The first digital audio recorders were reel-to-reel decks introduced by companies such as DenonSoundstream and Mitsubishi.
They used a digital technology known as PCM recording. Within Album) few years, however, many studios were using devices that encoded the digital audio data into a standard video signal, which was then recorded on a U-matic or other videotape recorder, using the rotating-head technology that was standard for video.
A similar technology was used for a consumer format, Digital Audio Tape DAT which used rotating heads on a narrow tape contained in a cassette. Bit depth is 16 bits, also the same as compact discs. DAT was a failure in the consumer-audio field too expensive, too finicky, and crippled by anti-copying regulationsbut it became popular Ridden By Sharks - Surfits - Pick It Up! studios particularly home studios and radio stations.
Within a few years after the introduction of digital recording, Let It Be - Various - All This And World War II (8-Track Cartridge recorders using stationary heads were being produced for use in professional studios. In the early s, relatively low-priced multitrack digital recorders were introduced for use in home studios; they returned to recording on videotape.
The most notable of this type of recorder is the ADAT. The ADAT machine is still a very common fixture in professional and home studios around the world. In the consumer market, tapes and gramophones were largely displaced by the compact disc CD and a lesser extent the minidisc. These recording media are fully digital and require complex electronics to play back.
Digital sound files can be stored on any computer storage medium. The development of the MP3 audio file format, and legal issues involved in copying such files, has driven most of the innovation in music distribution since their introduction in the late s.
As hard disk capacities and computer CPU speeds increased Let It Be - Various - All This And World War II (8-Track Cartridge the end of the s, hard disk recording became more popular. As of early hard disk recording takes two forms. One is the use of standard desktop or laptop computers, with adapters for encoding audio into two or many tracks of digital audio.
These adapters can either be in-the-box soundcards or external devices, either connecting to in-box interface cards or connecting to the computer via USB or Firewire cables. The other common form of hard disk recording uses a dedicated recorder which contains analog-to-digital and digital-to-analog converters as well as one or two removable hard drives for data storage.
Such recorders, packing 24 tracks in a few units of rack space, are actually single-purpose computers, which can in turn be connected to Album) computers for editing. Vinyl records, or long playing LP records, have become popular again as a way to consume music despite the rise of digital media. Over 15 thousand units were sold between and their sales reaching the highest level in since Popular artists have begun releasing their albums on vinyl, and stores such as Urban Outfitters and Whole Foods have started selling them.
However, some companies are facing production problems as there are only 16 record plants currently functioning in the United States.
The analog tape recorder made it possible to erase or record over a previous recording so that mistakes could be fixed. Another advantage of recording on tape is the ability to cut Album) tape and join it back together.
This allows the recording to be edited. Pieces Chick Corea / Herbie Hancock / Keith Jarrett / McCoy Tyner - Chick Corea, Herbie Hancock, Keith Jarr the recording can be removed, or rearranged.
See also audio editingaudio mixingmultitrack recording. The advent of electronic instruments especially keyboards and synthesizerseffects and Let It Be - Various - All This And World War II (8-Track Cartridge instruments has led to the importance of MIDI in recording. For example, using MIDI timecodeit is possible to have different equipment 'trigger' without direct human intervention at the time of recording. In more recent times, computers digital audio workstations have found an increasing role in the recording studioas their use eases the tasks of cutting and loopingas well as allowing for instantaneous changes, such as duplication of parts, the addition of effects and the rearranging of parts of the recording.
Schmidt in Los Angeles. Muntz's car lots became tourist attractions due to the widespread publicity from his television commercial appearances. A survey by Panner Motor Tours revealed that they ranked seventh among tourist attractions in Southern California. Inrace car designer and Kurtis-Kraft founder Frank Positive Reality - Mikey Dread - S.W.A.L.K.
/ Rockers Vibration attempted to market a new sports carthe two-seater Kurtis Kraft Sport. The backseat armrests contained a full cocktail bar. Muntz started plans to sell television receivers in and sales began in By trial and error, taking apart and studying PhilcoRCAand DuMont televisions, he figured out how to reduce the devices' electrical components to their minimum functional number.
As a result, they were usually very expensive: the cheapest U. He often carried a pair of wire clippers, and when he thought that one of his employees was " overengineering " a circuit, he would begin snipping components out until the picture or sound stopped Album). At that point, he would tell the engineer "Well, I guess you have to put that last part back in" and walk away.
The sets worked well in metropolitan areas that were close to television transmission towers where signals were strong. They worked poorly with weaker signals, as most of the components that Muntz had removed were intended to boost performance in fringe areas. This was a calculated decision: Muntz preferred to leave the low-volume, high-performance television receiver market to firms such as RCA and Zenith Electronicsas his intended customers were primarily urban dwellers with limited funds.
Muntz solved this problem by adding a built-in antenna to his receivers. Muntz continued with his "Madman" persona in many of his advertisements. Muntz won't let me. She's crazy! In one spot, Muntz screamed "Stop staring at your radio! Some sources credit Muntz with inventing the abbreviation "TV". So Muntz came up with the abbreviation "TV". Despite his early success, sales later declined and Muntz's creditors refused to provide further financing in However, Muntz's success continued in the Let It Be - Various - All This And World War II (8-Track Cartridge of cars and general consumer electronics.
Attempting to combine his two main product lines, cars and stereos, Muntz invented the Muntz Stereo-Pak 4-track tape cartridge.
Muntz chose stereo recording as a standard feature because of its wide availability. Muntz Album) a stereo tape player called the Autostereo for cars and had it inexpensively manufactured in Japan. Muntz audio products were so profitable by that he cancelled his agreements with tape-duplicating companies and founded his own company to Album) prerecorded Stereo-Pak cartridges.
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