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41 nc operation
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42 blast
blast, USA n1 ( explosion) explosion f ;3 ( air current from explosion) souffle m (from dégagé par) ;4 ( noise) ( on trumpet) sonnerie f ; (on whistle, car horn) coup m ; to give a blast on faire sonner [trumpet] ; donner un coup de [whistle, carhorn] ; a blast of pop music un morceau de musique pop à plein volume ; he plays his records at full blast il met ses disques à plein volume ; the radio is on at full blast la radio est à fond ;B excl zut! ○C vtr1 ( blow up) faire sauter [building] ; dynamiter [rockface] ; to blast a hole in a wall percer un mur à l'explosif ;D vi1 Mining utiliser des explosifs ; we blasted through the rock wall nous avons fait sauter la paroi rocheuse à l'explosif ;2 ( make a noise) [trumpets] retentir.the song was a blast from the past ○ for me cette chanson me replongeait dans le passé ; to blast sb/sth out of the water ○ fig descendre qn/qch en flammes ○.■ blast away:■ blast off:▶ blast off [rocket] décoller ;▶ blast [sth] off, blast off [sth]■ blast out:▶ blast out [music] retentir ;▶ blast [sth] out, blast out [sth] [radio, speaker] cracher ○ [music]. -
43 dig
A n1 ( poke) ( with elbow) coup m de coude (in dans) ; ( with fist) coup m de poing (in dans) ; to give sb a dig in the ribs donner à qn un coup de coude dans les côtes ;2 ○ ( jibe) pique ○ f (at à) ; to take ou get in a dig at sb lancer une pique ○ à qn ; that was a dig at you tu étais visé par cette remarque ;B digs npl GB ( lodgings) chambre f (meublée) (chez des particuliers) ; to live in digs habiter dans une chambre (meublée).1 ( excavate) creuser [ditch, tunnel, grave, trench] (in dans) ; to dig a path through the snow creuser un chemin dans la neige ; to dig one's way ou oneself out of sth se creuser un chemin pour sortir de qch ;4 ( embed) enfoncer, planter [knife, needle etc] (into dans) ; you're digging your nails into my arm! tu m'enfonces tes ongles dans le bras! ;5 ○ surtout US ( like) she really digs that guy ce mec la botte ○ ; I don 't dig westerns je n'adore pas les westerns ;1 ( excavate) gen creuser (into dans) ; Hort bêcher ; [animal, bird] fouir (for pour trouver) ; Archeol fouiller, faire des fouilles (into dans) ; to dig for creuser pour trouver [ore, treasure, remains] ; to dig into one's reserves piocher ○ dans ses réserves ;2 ( search) to dig in ou into fouiller dans [pockets, bag, records] ; she dug into her bag for the ticket elle a fouillé dans son sac pour trouver le billet ; to dig into sb's past fouiller dans le passé de qn ;■ dig in▶ dig in [sth], dig [sth] in Hort enterrer [compost etc] ; ( embed) enfoncer [teeth, weapon, stake] ; to dig oneself in Mil, fig se retrancher.■ dig into:▶ dig into [sth]1 fouiller dans [bag, pockets] ;2 fig fouiller dans [sb's past] ;3 ○ ( eat) attaquer ○ [meal, cake].■ dig out:▶ dig out [sth], dig [sth] out lit déterrer [animal] (of de) ; arracher [root, weed] (of de) ; enlever [splinter, nail] (of de) ; dégager [body] (of de) ; fig dénicher ○ [book, facts, information] (of dans).■ dig up: -
44 Berliner, Emile
SUBJECT AREA: Recording[br]b. 20 May 1851 Hannover, Germanyd. 3 August 1929 Montreal, Canada[br]German (naturalized American) inventor, developer of the disc record and lateral mechanical replay.[br]After arriving in the USA in 1870 and becoming an American citizen, Berliner worked as a dry-goods clerk in Washington, DC, and for a period studied electricity at Cooper Union for the Advancement of Science and Art, New York. He invented an improved microphone and set up his own experimental laboratory in Washington, DC. He developed a microphone for telephone use and sold the rights to the Bell Telephone Company. Subsequently he was put in charge of their laboratory, remaining in that position for eight years. In 1881 Berliner, with his brothers Joseph and Jacob, founded the J.Berliner Telephonfabrik in Hanover, the first factory in Europe specializing in telephone equipment.Inspired by the development work performed by T.A. Edison and in the Volta Laboratory (see C.S. Tainter), he analysed the existing processes for recording and reproducing sound and in 1887 developed a process for transferring lateral undulations scratched in soot into an etched groove that would make a needle and diaphragm vibrate. Using what may be regarded as a combination of the Phonautograph of Léon Scott de Martinville and the photo-engraving suggested by Charles Cros, in May 1887 he thus demonstrated the practicability of the laterally recorded groove. He termed the apparatus "Gramophone". In November 1887 he applied the principle to a glass disc and obtained an inwardly spiralling, modulated groove in copper and zinc. In March 1888 he took the radical step of scratching the lateral vibrations directly onto a rotating zinc disc, the surface of which was protected, and the subsequent etching created the groove. Using well-known principles of printing-plate manufacture, he developed processes for duplication by making a negative mould from which positive copies could be pressed in a thermoplastic compound. Toy gramophones were manufactured in Germany from 1889 and from 1892–3 Berliner manufactured both records and gramophones in the USA. The gramophones were hand-cranked at first, but from 1896 were based on a new design by E.R. Johnson. In 1897–8 Berliner spread his activities to England and Germany, setting up a European pressing plant in the telephone factory in Hanover, and in 1899 a Canadian company was formed. Various court cases over patents removed Berliner from direct running of the reconstructed companies, but he retained a major economic interest in E.R. Johnson's Victor Talking Machine Company. In later years Berliner became interested in aeronautics, in particular the autogiro principle. Applied acoustics was a continued interest, and a tile for controlling the acoustics of large halls was successfully developed in the 1920s.[br]Bibliography16 May 1888, Journal of the Franklin Institute 125 (6) (Lecture of 16 May 1888) (Berliner's early appreciation of his own work).1914, Three Addresses, privately printed (a history of sound recording). US patent no. 372,786 (basic photo-engraving principle).US patent no. 382,790 (scratching and etching).US patent no. 534,543 (hand-cranked gramophone).Further ReadingR.Gelatt, 1977, The Fabulous Phonograph, London: Cassell (a well-researched history of reproducible sound which places Berliner's contribution in its correct perspective). J.R.Smart, 1985, "Emile Berliner and nineteenth-century disc recordings", in WonderfulInventions, ed. Iris Newson, Washington, DC: Library of Congress, pp. 346–59 (provides a reliable account).O.Read and W.L.Welch, 1959, From Tin Foil to Stereo, Indianapolis: Howard W.Sams, pp. 119–35 (provides a vivid account, albeit with less precision).GB-N -
45 Gibson, R.O.
[br]fl. 1920s–30s[br]English chemist who, with E.O.Fawcett, discovered polythene.[br]Dr Gibson's work towards the discovery of polythene had its origin in a visit in 1925 to Dr A. Michels of Amsterdam University; the latter had made major advances in techniques for studying chemical reactions at very high pressures. After working with Michels for a time, in 1926 Gibson joined Brunner Mond, one of the companies that went on to form the chemical giant Imperial Chemical Industries (ICI). The company supported research into fundamental chemical research that had no immediate commercial application, including the field being cultivated by Michels and Gibson. In 1933 Gibson was joined by another ICI chemist, E.O.Fawcett, who had worked with W.H. Carothers in the USA on polymer chemistry. They were asked to study the effects of high pressure on various reaction systems, including a mixture of benzaldehyde and ethylene. Gibson's notebook for 27 March that year records that after a loss of pressure during which the benzaldehyde was blown out of the reaction tube, a waxy solid was observed in the tube. This is generally recognized as the first recorded observation of polythene. By the following June they had shown that the white, waxy solid was a fairly high molecular weight polymer of ethylene formed at a temperature of 443°K and a pressure of 2,000 bar. However, only small amounts of the material were produced and its significance was not immediately recognized. It was not until two years later that W.P.Perrin and others, also ICI chemists, restarted work on the polymer. They showed that it could be moulded, drawn into threads and cast into tough films. It was a good electrical insulator and almost inert chemically. A British patent for producing polythene was taken out in 1936, and after further development work a production plant began operating in September 1939, just as the Second World War was breaking out. Polythene had arrived in time to make a major contribution to the war effort, for it had the insulating properties required for newly developing work on radar. When peacetime uses became possible, polythene production surged ahead and became the major industry it is today, with a myriad uses in industry and in everyday life.[br]Bibliography1964, The Discovery of Polythene, Royal Institute of Chemistry Lecture Series 1, London.LRD -
46 Haddy, Arthur Charles
[br]b. 16 May 1906 Newbury, Berkshire, Englandd. December 1989[br]English electronics engineer who developed Full Frequency Range Recording for the Decca Record Company and was instrumental in the development of stereo records.[br]He developed recording equipment for. the Crystallate Gramophone Company, becoming Chief Recording Engineer at Decca when Crystallate was taken over. Eventually he was made Technical Director of Decca Record Company Ltd, a position he held until 1980. The developments of good cutterheads accelerated due to contract work for the armed services during the Second World War, because an extended frequency range was needed. This necessitated the solution of the problem of surface noise, and the result became known publicly as the ffrr system. The experience gained enabled Haddy to pioneer European Long Play recording. Haddy started development of a practical stereo record system within the Decca group, and for economic reasons he eventually chose a solution developed outside his direct surveillance by Teldec. The foresight of Decca made the company an equal partner in the standards discussions during the late 1950s, when it was decided to use the American 45/45 system, which utilized the two side walls of the groove. The same foresight had led Decca to record their repertoire in stereo from 1954 in order to prepare for any commercialized distribution system. In 1967 Haddy also became responsible for cassette manufacture, which meant organizing the logistics of a tape-duplication plant.[br]Principal Honours and DistinctionsOBE 1976.BibliographyHaddy's patents are a good description of some of his technical achievements; for example: UK patent no. 770,465 (greater playing time from a record by changing the groove pitch); UK patent no. 807,301 (using feedback to linearize a cutterhead); UK patent no. 810,106 (two-channel by simultaneous vertical and lateral modulation).Further ReadingG.A.Briggs (ed.), 1961, Audio Biographies, Wharfedale Wireless Works, pp. 157–63. H.E.Roys, "The coming of stereo", Jour. AES 25 (10/11):824–7 (an appreciation of Haddy's role in the standardization of stereo recording).GB-N
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