She suggested Williams prerecord answers to the most common questions about her age.
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It's not uncommon for huge live TV events to prerecord segments, especially when a stunt shot's involved.
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In particular, it announced a Premieres feature, which will let creators prerecord videos for their live streams.
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She will prerecord the song, but it will only play if she gets sick and physically can't pull it off.
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For weddings, couples could prerecord a video message that could be overlaid on physical photos using AR. With virtual reality offerings ranging from virtual skydiving to two player virtual hang gliding, Cooper told CNBC that VR is one of the most sought-after wedding accouterments, and is getting more futuristic.
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Kennedy sparked controversy after a "crow-call", which sounded like the word "fuck", was broadcast in March 1975 (see below). Forced to prerecord from that point on, he abruptly departed following GTV-9's censorship of the 16 April 1975 edition.
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With George Fenneman as his announcer and straight man, Marx entertained his audiences with improvised conversation with his guests. Since You Bet Your Life was mostly ad-libbed and unscripted—although writers did pre-interview the guests and feed Marx ready- made lines in advance—the producers insisted that the network prerecord it instead of it being broadcast live.
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BMS made it possible to prerecord announcements through a digital mixer, together with jingles and background atmosphere, on the computer hard disk and to manage playback together with music recordings from CD and digital audio tape (DAT). The CDs were stored in juke boxes that held 360 each. Each juke box had two players, and when fully developed, NRK Klassisk had ten such juke boxes.
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The studio assigned almost every star or character actor under contract to take part in the film, with the filming taking over six months. The studio also allowed Korngold to devote more attention to the score than it had to any of its previous films; he could prerecord certain parts of the film for the benefit of actors, whom he then had act to the rhythm and tempo of the music. As a result of the score's elaborate tailoring, the film and Korngold's music left a strong impression on the film industry. Korngold returned to Austria to finish Die Kathrin.
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Other plastics were sometimes used. By the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac. Beginning in the mid-1930s, one-off 16-inch rpm lacquer discs were used by radio networks to archive recordings of their live broadcasts, and by local stations to delay the broadcast of network programming or to prerecord their own productions. In the late 1940s, magnetic tape recorders were adopted by the networks to pre- record shows or repeat them for airing in different time zones, but 16-inch vinyl pressings continued to be used into the early 1960s for non-network distribution of prerecorded programming.
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The ease and accuracy of tape editing, as compared to the cumbersome disc-to-disc editing procedures previously in some limited use, together with tape's consistently high audio quality finally convinced radio networks to routinely prerecord their entertainment programming, most of which had formerly been broadcast live. Also, for the first time, broadcasters, regulators and other interested parties were able to undertake comprehensive audio logging of each day's radio broadcasts. Innovations like multitracking and tape echo allowed radio programs and advertisements to be produced to a high level of complexity and sophistication. The combined impact with innovations such as the endless loop broadcast cartridge led to significant changes in the pacing and production style of radio program content and advertising.
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He became the first major American music star to use tape to pre-record radio broadcasts, and the first to master commercial recordings on tape. The taped Crosby radio shows were painstakingly edited through tape-splicing to give them a pace and flow that was wholly unprecedented in radio. Soon other radio performers were demanding the ability to prerecord their broadcasts with the high quality of tape, and the recording ban was lifted. Crosby invested $50,000 of his own money into the Californian electronics company Ampex, and the six-man concern (headed by Alexander M. Poniatoff, whose initials became part of the company name) soon became the world leader in the development of tape recording, with its Model 200 tape deck, released in 1948 and developed from Mullin's modified Magnetophons.
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Sound could be recorded, erased and re-recorded on the same tape many times, sounds could be duplicated from tape to tape with only minor loss of quality, and recordings could now be very precisely edited by physically cutting the tape and rejoining it. Within a few years of the introduction of the first commercial tape recorder—the Ampex 200 model, launched in 1948—American musician-inventor Les Paul had invented the first multitrack tape recorder, ushering in another technical revolution in the recording industry. Tape made possible the first sound recordings totally created by electronic means, opening the way for the bold sonic experiments of the Musique Concrète school and avant garde composers like Karlheinz Stockhausen, which in turn led to the innovative pop music recordings of artists such as Frank Zappa, The Beatles and The Beach Boys. The ease and accuracy of tape editing, as compared to the cumbersome disc-to-disc editing procedures previously in some limited use, together with tape's consistently high audio quality finally convinced radio networks to routinely prerecord their entertainment programming, most of which had formerly been broadcast live.
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