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1 recording bibliography
English-Russian big polytechnic dictionary > recording bibliography
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2 recording bibliography
Полиграфия: учётно-регистрационная библиографияУниверсальный англо-русский словарь > recording bibliography
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3 recording bibliography
Англо-русский словарь по полиграфии и издательскому делу > recording bibliography
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4 recording bibliography
Англо-русский словарь по исследованиям и ноу-хау > recording bibliography
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5 bibliography
1) библиография2) библиографический указатель3) библиографоведениеАнгло-русский словарь по полиграфии и издательскому делу > bibliography
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6 bibliography
1. библиография2. библиографический указатель3. библиографоведениеbibliography to order — библиография литературы, рассылаемой по заказу
bibliography of bibliographies — библиография второй степени, библиография библиографических списков
bibliography of persons — персональная библиография, персоналий
author bibliography — персональная библиография, персоналий
chapter bibliography — библиография в конце глав, внутрикнижная библиография
demand bibliography — библиография литературы, рассылаемой по запросу
individual bibliography — персональная библиография, персоналий
local bibliography — местная библиография; краеведческая библиография
national bibliography — национальная библиография; государственная библиография
primary bibliography — библиография первой степени; первоначальная библиография
regional bibliography — местная библиография; краеведческая библиография
4. персональная библиография, персоналий5. специальная библиография6. библиография в конце глав, внутрикнижная библиография7. библиография по узкой теме8. отраслевая книготорговая библиография9. книгоиздательский или книготорговый каталог -
7 bibliography
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8 footnote bibliography
English-Russian big polytechnic dictionary > footnote bibliography
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9 popular bibliography
English-Russian big polytechnic dictionary > popular bibliography
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10 regional bibliography
English-Russian big polytechnic dictionary > regional bibliography
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11 subject bibliography
English-Russian big polytechnic dictionary > subject bibliography
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12 Smith, Oberlin
[br]b. 22 March 1840 Cincinnati, Ohio, USAd. 18 July 1926[br]American mechanical engineer, pioneer in experiments with magnetic recording.[br]Of English descent, Smith embarked on an education in mechanical engineering, graduating from West Jersey Academy, Bridgeton, New Jersey, in 1859. In 1863 he established a machine shop in Bridgeton, New Jersey, that became the Ferracute Machine Company in 1877, eventually specializing in the manufacture of presses for metalworking. He seems to have subscribed to design principles considered modern even in the 1990s, "always giving attention to the development of artistic form in combination with simplicity, and with massive strength where required" (bibliographic reference below). He was successful in his business, and developed and patented a large number of mechanical constructions.Inspired by the advent of the phonograph of Edison, in 1878 Smith obtained the tin-foil mechanical phonograph, analysed its shortcomings and performed some experiments in magnetic recording. He filed a caveat in the US Patent Office in order to be protected while he "reduced the invention to practice". However, he did not follow this trail. When there was renewed interest in practical sound recording and reproduction in 1888 (the constructions of Berliner and Bell \& Tainter), Smith published an account of his experiments in the journal Electrical World. In a corrective letter three weeks later it is clear that he was aware of the physical requirements for the interaction between magnetic coil and magnetic medium, but his publications also indicate that he did not as such obtain reproduction of recorded sound.Smith did not try to develop magnetic recording, but he felt it imperative that he be given credit for conceiving the idea of it. When accounts of Valdemar Poulsen's work were published in 1900, Smith attempted to prove some rights in the invention in the US Patent Office, but to no avail.He was a highly respected member of both his community and engineering societies, and in later life became interested in the anti-slavery cause that had also been close to the heart of his parents, as well as in the YMCA movement and in women's suffrage.[br]BibliographyApart from numerous technical papers, he wrote the book Press Working of Metals, 1896. His accounts on the magnetic recording experiments were "Some possible forms of phonograph", Electrical World (8 September 1888): 161 ff, and "Letter to the Editor", Electrical World (29 September 1888): 179.Further ReadingF.K.Engel, 1990, Documents on the Invention of Magnetic Recording in 1878, New York: Audio Engineering Society, Reprint no. 2,914 (G2) (a good overview of the material collected by the Oberlin Smith Society, Bridgeton, New Jersey, in particular as regards the recording experiments; it is here that it is doubted that Valdemar Poulsen developed his ideas independently).GB-N -
13 Keller, Arthur
[br]b. 18 August 1901 New York City, New York, USA d. 1983[br]American engineer and developer of telephone switching equipment who was instrumental in the development of electromechanical recording and stereo techniques.[br]He obtained a BSc in electrical engineering at Cooper Union for the Advancement of Science and Art, New York, in 1923 and an MSc from Yale University, and he did postgraduate work at Columbia University. Most of the time he was also on the staff of the Bell Telephone Laboratories. The Bell Laboratories and its predecessors had a long tradition in research in speech and hearing, and in a team of researchers under H.C. Harrison, Keller developed a number of definite improvements in electrical pick-ups, gold-sputtering for matrix work and electrical disc recording equipment. From 1931 onwards the team at Bell Labs developed disc recording for moving pictures and entered into collaboration with Leopold Stokowski and the Philadelphia Orchestra concerning transmission and recording of high-fidelity sound over wires, and stereo techniques. Keller developed a stereo recording system for disc records independently of A.D. Blumlein that was used experimentally in the Bell Labs during the 1930s. During the Second World War Keller was in a team developing sonar (sound navigation and ranging) for the US Navy. After the war he concentrated on switching equipment for telephone exchanges and developed a miniature relay. In 1966 he retired from the Bell Laboratories, where he had been Director of several departments, ending as Director of the Switching Apparatus Laboratory. After retirement he was a consultant internationally, concerning electromechanical devices in particular. When, in 1980, the Bell Laboratories decided to issue LP re-recordings of a number of the experimental records made during the 1930s, Keller was brought in from retirement to supervise the project and decide on the selections.[br]BibliographyKeller was inventor or co-inventor of forty patents, including: US patent no. 2,114,471 (the principles of stereo disc recording); US patent no. 2,612,586 (tape guides with air lubrication); US patent no. 3,366,901 (a miniature crossbar switch).Apart from a large number of highly technical papers, Keller also wrote the article "Phonograph" in the 1950 and 1957 editions of Encyclopaedia Britannica.1986, Reflections of a Stereo Pioneer, San Francisco: San Francisco Press (an honest, personal account).GB-N -
14 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 -
15 Tainter, Charles Sumner
SUBJECT AREA: Recording[br]b. 1854d. 1940[br]American scientific instrument maker, co-developer of practical cylinder recording.[br]He manufactured "philosophical devices" in Cambridge, Massachusetts, and was approached by Alexander Graham Bell in connection with the construction of toys using sound recordings. A more formal co-operation was agreed, and after Bell's receipt of the French Volta prize in 1880 he financed the Volta Laboratory Association in Washington, DC. He founded this in 1881 together with a cousin and Tainter to develop a practical sound-recording and -reproducing system. Another area that was developed was the transmission of sound by means of modulated light and reception via a selenium cell.The advances in sound recording and reproduction were very positive, and T.A. Edison was approached in mid-1885 in order to establish co-operation in the further development of a cylinder instrument. In early 1886 the Volta Graphophone Company was incorporated in Virginia, and an experimental laboratory was established in Washington, DC. The investors were connected with the secretarial services at the House of Representatives and needed the development for increasing efficiency in debate reporting. In mid-1887 Edison, against the advice of his collaborators, declined co-operation and went ahead on his own. There is no doubt that Tainter's skill in developing functional equipment and the speed with which he was able to work in the crucial years provoked other developments in the field, in particular the perfection of the Edison phonograph and the development of the disc record by Berliner.[br]BibliographyTainter's patents were numerous; those on sound recording were the most important, because they incorporated so many fundamental ideas, and included US patent no. 341, 214 (with C.A.Bell), and US patent no. 375, 579 (a complete dictation outfit).Further ReadingV.K.Chew, 1981, Talking Machines, London: Science Museum and HMSO, pp. 9–12 (provides a good overview, not only of Tainter's contribution, but also of early sound recording and reproduction).GB-NBiographical history of technology > Tainter, Charles Sumner
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16 Blumlein, Alan Dower
SUBJECT AREA: Aerospace, Broadcasting, Electronics and information technology, Photography, film and optics, Recording, Telecommunications[br]b. 29 June 1903 Hampstead, London, Englandd. 7 June 1942[br]English electronics engineer, developer of telephone equipment, highly linear electromechanical recording and reproduction equipment, stereo techniques, video and radar technology.[br]He was a very bright scholar and received a BSc in electrical technology from City and Guilds College in 1923. He joined International Western Electric (later to become Standard Telephone and Cables) in 1924 after a period as an instructor/demonstrator at City and Guilds. He was instrumental in the design of telephone measuring equipment and in international committee work for standards for long-distance telephony.From 1929 Blumlein was employed by the Columbia Graphophone Company to develop an electric recording cutterhead that would be independent of Western Electric's patents for the system developed by Maxfield and Harrison. He attacked the problems in a most systematic fashion, and within a year he had developed a moving-coil cutterhead that was much more linear than the iron-cored systems known at the time. Eventually Blumlein designed a complete line of recording equipment, from microphone and through-power amplifiers. The design was used by Columbia; after the merger with the Gramophone Company in 1931 to form Electrical and Musical Industries Ltd (later known as EMI) it became the company standard, certainly for coarse-groove records, until c.1950.Blumlein became interested in stereophony (binaural sound), and developed and demonstrated a complete line of equipment, from correctly placed microphones via two-channel records and stereo pick-ups to correctly placed loudspeakers. The advent of silent surfaces of vinyl records made this approach commercial from the late 1950s. His approach was independent and quite different from that of A.C. Keller.His extreme facility for creating innovative solutions to electronic problems was used in EMI's development from 1934 to 1938 of the electronic television system, which became the BBC standard of 405 lines after the Second World War, when television broadcasting again became possible. Independent of official requirements, EMI developed a 60 MHz radar system and Blumlein was involved in the development of a centimetric radar and display system. It was during testing of this aircraft mounted equipment that he was killed in a crash.[br]BibliographyBlumlein was inventor or co-inventor of well over 120 patents, a complete list of which is to be found in Burns (1992; see below). The major sound-recording achievements are documented by British patent nos. 350,954, 350,998, 363,627 (highly linear cutterhead, 1930) and 394,325 (reads like a textbook on stereo technology, 1931).Further ReadingThe definitive biography of Blumlein has not yet been written; the material seems to have been collected, but is not yet available. However, R.W.Burns, 1992, "A.D.Blumlein, engineer extraordinary", Engineering Science and Education Journal (February): 19– 33 is a thorough account. Also B.J.Benzimra, 1967, "A.D. Blumlein: an electronics genius", Electronics \& Power (June): 218–24 provides an interesting summary.GB-N -
17 Johnson, Eldridge Reeves
SUBJECT AREA: Recording[br]b. 18 February 1867 Wilmington, Delaware, USAd. 14 November 1945 Moorestown, New Jersey, USA[br]American industrialist, founder and owner of the Victor Talking Machine Company; developer of many basic constructions in mechanical sound recording and the reproduction and manufacture of gramophone records.[br]He graduated from the Dover Academy (Delaware) in 1882 and was apprenticed in a machine-repair firm in Philadelphia and studied in evening classes at the Spring Garden Institute. In 1888 he took employment in a small Philadelphia machine shop owned by Andrew Scull, specializing in repair and bookbinding machinery. After travels in the western part of the US, in 1891 he became a partner in Scull \& Johnson, Manufacturing Machinists, and established a further company, the New Jersey Wire Stitching Machine Company. He bought out Andrew Scull's interest in October 1894 (the last instalment being paid in 1897) and became an independent general machinist. In 1896 he had perfected a spring motor for the Berliner flat-disc gramophone, and he started experimenting with a more direct method of recording in a spiral groove: that of cutting in wax. Co-operation with Berliner eventually led to the incorporation of the Victor Talking Machine Company in 1901. The innumerable court cases stemming from the fact that so many patents for various elements in sound recording and reproduction were in very many hands were brought to an end in 1903 when Johnson was material in establishing cross-licencing agreements between Victor, Columbia Graphophone and Edison to create what is known as a patent pool. Early on, Johnson had a thorough experience in all matters concerning the development and manufacture of both gramophones and records. He made and patented many major contributions in all these fields, and his approach was very business-like in that the contribution to cost of each part or process was always a decisive factor in his designs. This attitude was material in his consulting work for the sister company, the Gramophone Company, in London before it set up its own factories in 1910. He had quickly learned the advantages of advertising and of providing customers with durable equipment and records. This motivation was so strong that Johnson set up a research programme for determining the cause of wear in records. It turned out to depend on groove profile, and from 1911 one particular profile was adhered to and processes for transforming the grooves of valuable earlier records were developed. Without precise measuring instruments, he used the durability as the determining factor. Johnson withdrew more and more to the role of manager, and the Victor Talking Machine Company gained such a position in the market that the US anti-trust legislation was used against it. However, a generation change in the Board of Directors and certain erroneous decisions as to product line started a decline, and in February 1926 Johnson withdrew on extended sick leave: these changes led to the eventual sale of Victor. However, Victor survived due to the advent of radio and the electrification of replay equipment and became a part of Radio Corporation of America. In retirement Johnson took up various activities in the arts and sciences and financially supported several projects; his private yacht was used in 1933 in work with the Smithsonian Institution on a deep-sea hydrographie and fauna-collecting expedition near Puerto Rico.[br]BibliographyJohnson's patents were many, and some were fundamental to the development of the gramophone, such as: US patent no. 650,843 (in particular a recording lathe); US patent nos. 655,556, 655,556 and 679,896 (soundboxes); US patent no. 681,918 (making the original conductive for electroplating); US patent no. 739,318 (shellac record with paper label).Further ReadingMrs E.R.Johnson, 1913, "Eldridge Reeves Johnson (1867–1945): Industrial pioneer", manuscript (an account of his early experience).E.Hutto, Jr, "Emile Berliner, Eldridge Johnson, and the Victor Talking Machine Company", Journal of AES 25(10/11):666–73 (a good but brief account based on company information).E.R.Fenimore Johnson, 1974, His Master's Voice was Eldridge R.Johnson, Milford, Del.(a very personal biography by his only son).GB-NBiographical history of technology > Johnson, Eldridge Reeves
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18 Voigt, Paul Gustavus Adolphus Helmuth
[br]b. 9 December 1901 Forest Hill, London, Englandd. 9 February 1981 Brighton, Ontario, Canada[br]English/Canadian electronics engineer, developer of electromechanical recording and reproductions systems, amplifiers and loudspeakers.[br]He received his education at Dulwich College and in 1922 graduated with a BSc from University College, London. He had an early interest in the application of valve amplifiers, and after graduating he was employed by J.E.Hough, Edison Bell Works, to develop a line of radio-receiving equipment. However, he became interested in the mechanical (and later electrical) side of recording and from 1925 developed principles and equipment. In particular he developed capacitor microphones, not only for in-house work but also commercially, until the mid-1930s. The Edison Bell company did not survive the Depression and closed in 1933. Voigt founded his own company, Voigt Patents Ltd, concentrating on loudspeakers for cinemas and developing horn loudspeakers for domestic use. During the Second World War he continued to develop loudspeaker units and gramophone pick-ups, and in 1950 he emigrated to Toronto, Canada, but his company closed. Voigt taught electronics, and from 1960 to 1969 he was employed by the Radio Regulations Laboratory in Ottawa. After retirement he worked with theoretical cosmology and fundamental interactions.[br]BibliographyMost of Voigt's patents are concerned with improvements in the magnetic circuit in dynamic loudspeakers and centring devices for diaphragms. However, UK patent nos. 278,098, 404,037 and 447,749 may be regarded as particularly relevant. In 1940 Voigt contributed a remarkable paper on the principles of equalization in mechanical recording: "Getting the best from records, part 1—the recording characteristic", Wireless World (February): 141–4.Further ReadingPersonal accounts of experiences with Voigt may be found in "Paul Voigt's contribution to Audio", British Kinematography Sound and Television (October 1970): 316–27, which also includes a list of his patents.GB-NBiographical history of technology > Voigt, Paul Gustavus Adolphus Helmuth
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19 Welte, Edwin
SUBJECT AREA: Recording[br]b. 1876 Germanyd. after 1925[br]German instrument maker who developed piano-music recording methods for reproducing pianos.[br]He was the third generation of the Freiburg (Germany) firm of M.Welte \& Soehne, music box and orchestrion manufacturers, founded in 1832, and was made a partner in 1901. He was the driving force behind the development and refinement of the reproducing piano, which had an upper-class market from 1905 to c. 1925. With his partner and brother-in-law Karl Bockisch, he also developed recording methods that made it possible to distribute perforated paper rolls representing a reasonably accurate representation of the performance of famous soloists. This is a principle for recording and replay that is totally different from the mechanical recording principle, and at that time the quality was generally regarded as higher than that of mechanical reproduction. However, because of the possibilities of editing, the source value may be less certain. Welte's contribution was the first commercial use of a coded representation of live performances. The Welte patents were licensed to several other player-piano manufacturers.[br]BibliographyGerman patent no. 162,708 (controlling the dynamics of reproduction).Further ReadingQ.D.Bowers, 1972, Encyclopedia of Automatic Musical Instruments, New York: Vestal Press, pp. 319–38 (a good if somewhat uneven account of the Welte involvement in the reproduction of recorded sound).GB-N -
20 Marey, Etienne-Jules
[br]b. 5 March 1830 Beaune, Franced. 15 May 1904 Paris, France[br]French physiologist and pioneer of chronophotography.[br]At the age of 19 Marey went to Paris to study medicine, becoming particularly interested in the problems of the circulation of the blood. In an early communication to the Académie des Sciences he described a much improved device for recording the pulse, the sphygmograph, in which the beats were recorded on a smoked plate. Most of his subsequent work was concerned with methods of recording movement: to study the movement of the horse, he used pneumatic sensors on each hoof to record traces on a smoked drum; this device became known as the Marey recording tambour. His attempts to study the wing movements of a bird in flight in the same way met with limited success since the recording system interfered with free movement. Reading in 1878 of Muybridge's work in America using sequence photography to study animal movement, Marey considered the use of photography himself. In 1882 he developed an idea first used by the astronomer Janssen: a camera in which a series of exposures could be made on a circular photographic plate. Marey's "photographic gun" was rifle shaped and could expose twelve pictures in approximately one second on a circular plate. With this device he was able to study wing movements of birds in free flight. The camera was limited in that it could record only a small number of images, and in the summer of 1882 he developed a new camera, when the French government gave him a grant to set up a physiological research station on land provided by the Parisian authorities near the Porte d'Auteuil. The new design used a fixed plate, on which a series of images were recorded through a rotating shutter. Looking rather like the results provided by a modern stroboscope flash device, the images were partially superimposed if the subject was slow moving, or separated if it was fast. His human subjects were dressed all in white and moved against a black background. An alternative was to dress the subject in black, with highly reflective strips and points along limbs and at joints, to produce a graphic record of the relationships of the parts of the body during action. A one-second-sweep timing clock was included in the scene to enable the precise interval between exposures to be assessed. The fixed-plate cameras were used with considerable success, but the number of individual records on each plate was still limited. With the appearance of Eastman's Kodak roll-film camera in France in September 1888, Marey designed a new camera to use the long rolls of paper film. He described the new apparatus to the Académie des Sciences on 8 October 1888, and three weeks later showed a band of images taken with it at the rate of 20 per second. This camera and its subsequent improvements were the first true cinematographic cameras. The arrival of Eastman's celluloid film late in 1889 made Marey's camera even more practical, and for over a decade the Physiological Research Station made hundreds of sequence studies of animals and humans in motion, at rates of up to 100 pictures per second. Marey pioneered the scientific study of movement using film cameras, introducing techniques of time-lapse, frame-by-frame and slow-motion analysis, macro-and micro-cinematography, superimposed timing clocks, studies of airflow using smoke streams, and other methods still in use in the 1990s. Appointed Professor of Natural History at the Collège de France in 1870, he headed the Institut Marey founded in 1898 to continue these studies. After Marey's death in 1904, the research continued under the direction of his associate Lucien Bull, who developed many new techniques, notably ultra-high-speed cinematography.[br]Principal Honours and DistinctionsForeign member of the Royal Society 1898. President, Académie des Sciences 1895.Bibliography1860–1904, Comptes rendus de l'Académie des Sciences de Paris.1873, La Machine animale, Paris 1874, Animal Mechanism, London.1893, Die Chronophotographie, Berlin. 1894, Le Mouvement, Paris.1895, Movement, London.1899, La Chronophotographie, Paris.Further Reading1905, Travaux de l'Association de l'Institut Marey, Paris. Brian Coe, 1981, History of Movie Photography, London.——1992, Muybridge and the Chronophotographers, London. Jacques Deslandes, 1966, Histoire comparée du cinéma, Vol. I, Paris.See also: Demenÿ, GeorgesBC / MG
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