499 Sentences With "stereophonic" | Random Sentence Generator

The lips along his two mouths ripple as he speaks in a resonant stereophonic voice.

If you're going to listen to stereophonic recordings, you should listen to them in true stereo.

Volume Two of the Mueller report, like the second volume of Bob Dylan's greatest hits, is the more stereophonic and satisfying.

While producing the feature film Fantasia in 1940, Disney spent an estimated $200,000 to develop the first theatrical, stereophonic sound system to better the audience's viewing experience.

"Paris Loves Lovers" is charming, and "Stereophonic Sound," which Mr. Astaire performs with Janis Paige, the original lead in the Broadway production of "The Pajama Game," is effectively brassy.

Whether your destination is the pool at your hotel, someone's backyard, or in your bedroom for jams before work, the UE Megaboom 33 promises to deliver stereophonic audio in all directions and surprisingly deep bass for a speaker of its size.

Just as the cellphone has replaced the standalone camera and the wristwatch for many, and is beginning to replace the wallet, 6G phones may someday replace eyeglasses through the use of goggles, which can double as headphones, that have incredible imaging capability and stereophonic sound.

Short biographies highlight well-known figures like Thomas Edison, who invented the phonograph, as well as more unsung innovators, such as Alan Blumlein, who developed stereophonic sound and was killed at the age of 38 during a World War II airborne radar system test.

The 2001 reissue presents both monaural and stereophonic mixes, as well as a stereophonic tracking session for "7 and 7 Is".

The stereophonic sound in analogue transmission is coded by Zweikanalton method.

Such techniques were also used in Duophonic sound to re-release monophonic recording with pseudo-stereophonic sound.

The label also focused on collaboration with the present classical music interpreters, with recordings by the Pavel Haas Quartet awarded BBC Music Magazine's "Chamber Choice". Among other artists working with Supraphon were Jiří Bělohlávek and Sir Charles Mackerras. First stereophonic records were issued in 1961, although stereophonic recordings were made since 1958 and were reissued in stereo from 1961, first stereophonic pop-music was recorded in 1964. In the 1970s Supraphon made some records in four channel stereo using the SQ system.

Station WCRB and H. H. Scott, then of Maynard, Massachusetts developed prototype stereophonic equipment that was used to prove the "General Electric" multiplex method being evaluated by the Federal Communications Commission (FCC). H.H. Scott was an early stereophonic receiver manufacturer that developed and manufactured high-quality home stereo equipment. Once the FCC approved stereophonic broadcasting, WCRB created a special "stereo" studio in downtown Boston, the first in the world. There was no dual channel (stereo) studio equipment at the time.

The Federal Communications Commission announced stereophonic FM technical standards in April 1961, with licensed regular stereophonic FM radio broadcasting set to begin in the United States on June 1, 1961."Conversion to Stereo Broadcasts on FM is Approved by F.C.C.", The New York Times, April 20, 1961, p. 67. WEFM (in the Chicago area) and WGFM (in Schenectady, New York) were reported as the first stereo stations."Stereophonic FM Broadcast Begun by WEFM", The Chicago Tribune, June 2, 1961, p. B-10.

Frey became known as "Mr. Stereo" during that era. Stereophonic sound was not entirely new to the public.

The stereophonic zoom - pdf. Retrieved January 23, 2009.The ORTF-Stereo-Microphone System - pdf. Retrieved January 23, 2009.

The film is almost the first demonstration of stereophonic sound to accompany moving pictures, an invention of Alan Blumlein.

Bel Canto Stereophonic Recordings, a TRW subsidiary, was a record label active from the mid-1950s to the early 1960s.

Fly Stereophonic is the fifth album by the singer/songwriter Lida Husik, released on June 24, 1997 through Alias Records.

Springer US. . Wallach et al. also noted that the precedence effect plays an important part in perception of stereophonic sound.

Non-reverb equipped Optigans feature a metal plate which reads "Stereophonic" in raised relief and which hides the unused opening. Reverb-equipped units had a slightly different plate which read "REVERB Stereophonic" affixed immediately to the left of the rocker switches and above the power switch. According to optigan.com, two piano bar prototypes were produced.

In 1950, he pioneered stereophonic broadcasting. The process he developed allowed a station to use a sideband of its frequency to broadcast subsidiary programming. This process was called multiplexing, and once fully instituted removed the need for two stations, and thus two receivers at the listener's end in order to achieve a stereophonic effect.

"Ligeti 1993: Searching for Music's Outer Limits", New York Times (at TheRestisNoise.com). while for recordings it has been mixed down to stereophonic sound.

Sound interlocks were used for stereophonic sound systems before the advent of magnetic film prints. Fantasound (developed by RCA in 1940 for Disney's Fantasia) was an early interlock system. Likewise, early stereophonic films such as This Is Cinerama and House of Wax utilized a separate, magnetic oxide-coated film to reproduce up to six or more tracks of stereophonic sound. Datasat Digital Entertainment, purchaser of DTS's cinema division in May 2008, uses a time code printed on and read off of the film to synchronize with a CD-ROM in the sound track, allowing multi-channel soundtracks or foreign language tracks.

There, they recorded and produced Sackville Classics for the Simple Ukulele. They also played the inaugural Stereophonic Music Festival, a fund raiser for CHMA-FM, the local campus-community station. During 2004 both Kilpatrick and Squire released solo albums. Later in 2004, Julie Doiron, known for her solo recording and work with Eric's Trip, relocated to Sackville just in time to play the second Stereophonic festival.

The name changed to HiFi Review in 1959. It became HiFi/Stereo Review in 1961 to reflect the growing use of stereophonic technology in recordings and broadcasts. In 1968 it became, simply, Stereo Review, reflecting the broad shift to stereophonic reproduction and simplifying the title. In the late 1980s, the magazine was acquired by CBS Magazines (now Hachette Filipacchi), and in 1989 it absorbed High Fidelity magazine.

A similar set of circumstances led to the wide use of stereophonic sound across the whole game when it was initially planned only for action sequences.

The name 'Rockman' has similarity to Sony's 'Walkman' which had been introduced to the US in 1980, with both devices being breakthroughs in portable stereophonic electronics.

Shelf stereos date back to the radio receivers often found in diners ever since the advent of radio. However, these early receivers were not stereophonic receivers.

Like the games before it, Cross Days is presented with limited animation. The game is audibly stereophonic with lip- synched voice acting, sound effects and background music.

The album was originally released as a stereophonic LP by Capitol in 1974 (catalogue number ST-11269). In 1995, the album was reissued on CD (catalogue number 80131).

Fantasound was a stereophonic sound reproduction system developed by engineers of Walt Disney studios and RCA for Walt Disney's animated film Fantasia, the first commercial film released in stereo.

WMSO programming is relayed to an FM translator, which gives the listener the choice of FM with higher quality stereophonic sound. The translator is owned by Arlington Broadcasting Company.

A stereo microphone integrates two microphones in one unit to produce a stereophonic signal. A stereo microphone is often used for broadcast applications or field recording where it would be impractical to configure two separate condenser microphones in a classic X-Y configuration (see microphone practice) for stereophonic recording. Some such microphones have an adjustable angle of coverage between the two channels. A noise-canceling microphone is a highly directional design intended for noisy environments.

Film studios sought to lure audiences to theaters with attractions that television could not provide. These included a revival of color films, three-dimensional films, stereophonic sound, and widescreen movies.

KGU also broadcasts its programming on an FM translator. This translator gives listeners the ability to, not only listen on FM, but hear the station in stereophonic high fidelity sound.

Their names are derived from the concept of 'left' and 'right', like in stereophonic sound. Their surnames came from the Japanese words for and and they are each other's mirror image.

The film premiered at Loew's State Theatre in New York City on Tuesday, May 19, 1953 demonstrating Universal-International's widescreen process and stereophonic sound. It began its release the following day.

In 1961, the first stereophonic single ever released in the UK, was billed as 'The Sound of Ed White', playing "Coral Reef" and "Tropical Blue". This was released by Pye Records.

Usage of the Douglass laughter decreased by the 1980s when stereophonic laughter was provided by rival sound companies as well as the overall practice of single-camera sitcoms eliminating audiences altogether.

Attikon was the only theater that could play the movie with stereophonic sound. " «Φιλοποίμην Φίνος», βιογραφικό στον ιστότοπο SanSimera.gr." (Beautiful Film, Biographies in SanSimera.gr) The movie sold 619,236 tickets in Greece.

The radiophonic version further occasioned the first stereophonic radio broadcast in Israel. It was aired on two different channels simultaneously, and listeners tuned in on two receivers for the full effect.

The Haeco-CSG process was designed to make stereophonic vinyl LP records compatible with mono playback equipment. These recordings were intended to make the 2 channel stereo mix automatically "fold-down" properly to a single mono channel. The reason for the process is the compatibility issue between stereophonic and monaural recordings: information which is identical on both the left and right channels of a stereophonic mix sounds too loud when played back on mono AM and FM radio stations and phonographs. When the left and right channels are summed together, any musical parts that are common to both channels combine to be 6 decibels louder than they are in the same mix when played in stereo (a phenomenon known as "center-channel buildup").

Descriptions of stereophonic sound tend to stress the ability to localize the position of each instrument in space, but this would only be true in a carefully engineered and installed system, where speaker placement and room acoustics are taken into account. In reality, many playback systems, such as all-in-one boombox units and the like, are incapable of recreating a realistic stereo image. Originally, in the late 1950s and 1960s, stereophonic sound was marketed as seeming "richer" or "fuller-sounding" than monophonic sound, but these sorts of claims were and are highly subjective, and again, dependent on the equipment used to reproduce the sound. In fact, poorly recorded or reproduced stereophonic sound can sound far worse than well done monophonic sound.

Raymond Montgomery Raikes (13 September 1910 – 2 October 1998) was a British theatre producer, director and broadcaster. He was particularly known for his productions of classic dramas for BBC Radio's "World Theatre" and "National Theatre of the Air" series, which pioneered the use of stereophonic sound in radio drama broadcasts. He received two Prix Italia awards in 1965 for his stereophonic productions of The Foundling by A. R. Gurney and The Anger of Achilles by Robert Graves.

KCRS relays its programming to two FM translators in order to widen the coverage area; they also provide the listener with the choice of listening on FM with high fidelity stereophonic sound.

The KSLL (1080 kHz) True Country signal is relayed to an FM translator; this translator provides the listener with the choice of FM 24 hours per day with stereophonic high fidelity sound.

Although shot in black-and-white, this was the first film version of the play in a widescreen format (Sovscope, an anamorphic system similar to CinemaScope) and stereophonic sound (4-track stereo).

An FM translator affords the listener the ability to listen on the FM band with its inherent high fidelity and often stereophonic sound. In addition, FM stations may broadcast 24 hours per day.

Julie Is Her Name is the first LP album by Julie London, released by Liberty Records in December, 1955, under catalog numbers LRP-3006, in monaural form. It was subsequently reprocessed to produce a stereophonic album, and this stereophonic version was released on May 25, 1960 as catalog number LST-7037. The album featured Barney Kessel on guitar and Ray Leatherwood on bass. The first track, "Cry Me a River", was released as a single (Liberty 55006) and was London's biggest chart success.

Magnetic sound is no longer used in commercial cinema, but between 1952 and the early 1990s (when optical digital movie sound rendered it obsolete) it provided the highest fidelity sound from film because of its wider frequency range and superior signal to noise ratio compared to optical sound. There are two forms of magnetic sound in conjunction with projection: double-head and striped. The first form of magnetic sound was the double-head system, in which the movie projector was interlocked with a dubber playing a 35 mm reel of a full-coat, or film completely coated with magnetic iron-oxide. This was introduced in 1952 with Cinerama, holding six tracks of stereophonic sound. Stereophonic releases throughout 1953 also used an interlocked full-coat for three-channel stereophonic sound.

WFIN also has an FM translator, W238CX, to extend the coverage of the main AM station; it also provides the listener the ability to listen on the FM band, providing high fidelity stereophonic sound.

The Times of India. Retrieved 30 August 2014. Bachchan had lent his voice to a song in the film. The song "Stereophonic Sannata" was reused from the song "Aasaiya Kaathula" from the Tamil movie Johnny.

The 2001 CD reissue presents both monaural and stereophonic mixes of the album, as well as an alternate take of "Signed D.C." and "No. Fourteen", the B-side to the "7 and 7 Is" single.

The station simulcasts its signal on 92.9 FM using translator W225CP; this widens the coverage area, adds high fidelity stereophonic sound and provides 24 hours/day broadcasting. The translator is owned by Tomsun Media, LLC.

In 1931-32 Keller made the first known stereophonic and high- fidelity recordings of orchestral music. On April 19, 1938 Keller was issued US patent number 2,114,471 for his idea of recording the two channels of a stereo recording in one record groove each at 45 degrees from vertical. Keller led the design team at Bell Laboratories which developed the first modern wire wrap tools. Keller was awarded the Gold Medal from the Audio Engineering Society in 1981 for outstanding developments in stereophonic disk recording.

From a technical point of view, the album demonstrates the limitations of the recording technology of the time. A substantial number of vinyl albums were issued in monophonic format, since many home record players, at least in the United Kingdom, could not reproduce stereophonic sound. On the stereophonic releases, including the CD re-releases, the stereo imaging separates the instruments quite strongly. For instance, in the song "Walking on Sunset", the drum kit, situated on the left, is inaudible in the right hand channel.

Perception, 1, 161-165. Morais, J., & Bertelson, P. (1975). Spatial position versus ear of entry as determinant of the auditory laterality effects: a stereophonic test. Journal of Experimental Psychology: Human Perception and Performance, 1, 253-262.

Inferno is a 1953 American film noir drama/thriller starring Robert Ryan, William Lundigan and Rhonda Fleming, directed by Roy Ward Baker. It was shot in Technicolor and shown in 3-D Dimension and stereophonic sound.

Swing Me an Old Song is an LP album by Julie London, released by Liberty Records under catalog numbers LRP-3119 (monaural) and LST-7119 (stereophonic) in 1959. The accompaniment was by Jimmy Rowles and his Orchestra.

In its initial release, Warner Brothers premiered this film in some large cities with an experimental sound system called Vitasound, not stereophonic but aiming to create a greater dynamic sound range for battlefield action and dramatic music.

Tekniska museet, Digitalt museum, Objekt TEKS0007600. Tolnai bandspelare.Tolnai LP16 Tape Recorder. TEKS0007600. Kringla.nu Kornél Tolnai sought to get the perfect stereophonic sound (Greek, stereos = "solid" and phōnē ="sound"), commonly called "stereo", on new constructions of tape recorders.

Shankar plays the violin, cello and piano. She is the only woman in the world to play the double violin. This ten- string, stereophonic instrument covers the entire orchestral range, including double bass, cello, viola and violin.

Some AV receivers, stereophonic systems, and computer soundcards contain integral digital signal processors or digital audio processors to simulate surround sound from a stereophonic source (see fake stereo). In 1967, the rock group Pink Floyd performed the first-ever surround sound concert at "Games for May", a lavish affair at London’s Queen Elizabeth Hall where the band debuted its custom-made quadraphonic speaker system. The control device they had made, the Azimuth Co-ordinator, is now displayed at London's Victoria and Albert Museum, as part of their Theatre Collections gallery.

Others quickly followed, under the His Master's Voice and Columbia labels. 161 Stereosonic tapes were released, mostly classical music or lyric recordings. RCA imported these tapes into the US. Two-track stereophonic tapes were more successful in America during the second half of the 1950s. They were duplicated at real time (1:1) or at twice the normal speed (2:1) when later 4-track tapes were often duplicated at up to 16 times the normal speed, providing a lower sound quality in many cases. Early American 2-track stereophonic tapes were very expensive.

1975: Birmingham inventor Michael Gerzon co-invents the Soundfield microphone. Gerzon studies at the University of Oxford, and is inspired by Alan Blumlein's landmark 1933 development of stereophonic recording and reproduction. The Soundfield range of microphones are now considered the ultimate microphones for recording both stereophonic and multichannel surround formats. The Balti rose to fame in Birmingham Gerzon later plays a large role in the invention of Ambisonics, which is a series of recording and replay techniques using multichannel mixing technology that can be used live or in the studio.

In addition, the price of the stereophonic recorder upon which to play the records may have been equal to, or greater than, the cost of a new car. However, audiophiles, with little or no regard for the cost, bought them and the players anyway, and stereophonic sound came to at least a select few living rooms of the mid-1950s."Hi-Fi: Two-Channel Commotion", The New York Times, November 17, 1957, p. XX1. Stereo recording became widespread in the music business by the 3rd quarter of 1957.

The Cine Capri was the first multipurpose theater in the southwest specifically designed to project all film aspect ratios of the time, including Cinemascope, Vista-Vision, and Cinerama from its 70/35 mm projectors and stereophonic sound system.

His thesis at Cooper Union, under the direction of Professor Daniel M. Schutzer (born 1940), was titled Four-Channel Stereophonic Transmission Over Two Normal Audio Channels. He also studied acoustics with Cyril M. Harris (1917–2011) at Columbia University.

Decca Classical, 1929–2009, AHRC Research Centre for the History and Analysis of Recorded Music. Retrieved 5 September 2014. The orchestra's first stereophonic recording was made for Decca in 1956, with Boult in Vaughan Williams's Eighth Symphony.Stuart, p. 114.

American Movie Classics may have been the first to offer telecasts of the widescreen version. Recent DVDs and Blu-ray Discs of the film, however, present the film in the original widescreen format, as well as the multitrack stereophonic soundtrack.

Many quotes from the film became catch phrases and are still used today: "Isn't it time to blow at William, at our Shakespeare?", "Here is Grundig tape recorder. Four tracks, stereophonic, elegant design...", "Free Yuriy Detochkin!" and many other (see Wikiquote).

The Doris Day Christmas Album is an album of Christmas songs performed by Doris Day, released by Columbia Records on September 14, 1964, as a monophonic LP album (catalog number CL-2226) and a stereophonic LP album (catalog CS-9026).

In its early years, WHCL was a low-power station confined to the college campus, and its 2.5 watt signal was monaural. By the mid-1980s, however, it had expanded to 270 watts, with stereophonic broadcasting to the entire Mohawk Valley.

In addition to the main station, WKCU is relayed by an FM translator to widen its broadcast area. It is owned by TeleSouth Media and operated under their licensee TeleSouth Communications Inc. The translator also provides high fidelity stereophonic sound.

EMI (UK) was the first company to release commercial stereophonic tapes. They issued their first Stereosonic tape in 1954. Others quickly followed, under the His Master's Voice and Columbia labels. 161 Stereosonic tapes were released, mostly classical music or lyric recordings.

In 1952 sound engineer Emory Cook developed a stereophonic disk that used two separate grooves and playback needles; the following year he had a catalog of about 25 disks available for audiophiles. Multi-channel sound was integral to the widescreen motion picture processes Cinerama (1952) and CinemaScope (1953). Stereophonic audio tapes had been commercially available to audiophiles, although expensive, since the mid-1950s. After the release of the Audio Fidelity demonstration disks, the other spur to the popularity of stereo disks was the reduction in price of a stereo magnetic cartridge, for playing the disks, from $250 to $29.95 in June 1958.

The first number-one album on the new weekly list was Belafonte by Harry Belafonte. The chart was renamed to Best-Selling Pop Albums later in 1956, and then to Best-Selling Pop LPs in 1957. Beginning on May 25, 1959, Billboard split the ranking into two charts Best-Selling Stereophonic LPs for stereo albums (30 positions) and Best-Selling Monophonic LPs for mono albums (50 positions). These were renamed to Stereo Action Charts (30 positions) and Mono Action Charts (40 positions) in 1960. In January 1961, they became Action Albums—Stereophonic (15 positions) and Action Albums—Monophonic (25 positions).

Assuming free field sound propagation, it has been shown that the sound field presented by these two transducers can deliver an appropriate phase difference between the positions of listener’s ears at low frequencies, where the relation between the position of phantom image and the corresponding amplitude ratio may be summarized by the so-called ‘sine law’ H. Clark, G. Dutton, P. Vanderlyn: The stereophonic recording and reproducing system. IRE. Trans. Audio 5 (1957) 96–111. (similarly, the tangent lawV. Pulkki, M. Karjalainen: Localization of amplitude-panned virtual sources - I: Stereophonic panning. Journal of the Audio Engineering Society 49 (2001) 739–752.).

Stereophonic sound attempts to create an illusion of location for various sound sources (voices, instruments, etc.) within the original recording. The recording engineer's goal is usually to create a stereo "image" with localization information. When a stereophonic recording is heard through loudspeaker systems (rather than headphones), each ear, of course, hears sound from both speakers. The audio engineer may, and often does, use more than two microphones (sometimes many more) and may mix them down to two tracks in ways that exaggerate the separation of the instruments, in order to compensate for the mixture that occurs when listening via speakers.

The film received favourable reviews although some complained that the sound from the film's stereophonic presentation, with its use of three speakers, was loud and distracting. It opened with a gross of $42,000, the best opening for a Universal film at Loew's State.

Analog stereo transmissions ended several years later, though the internet feed remains stereophonic. WTVN also broadcast using iBiquity's HD Radio format in the late 2000s, though it was difficult to maintain a lock on the carrier and digital transmissions have since ceased.

Wiley Publishing, 2010, p. 22 though not the first television broadcast with stereophonic sound. Only NBC's flagship local station in New York City, WNBC, had stereo broadcast capability at that time.Peter W. Kaplan, "TV Notes", New York Times, July 28, 1984, sec.

WLOI relays programming to an FM translator; this allows the format to broadcast 24 hours per day, in addition to giving the listener high fidelity stereophonic sound. Geographically, the translator is located between WXNU in St. Anne, Illinois and WVFM in Kalamazoo, Michigan.

Battersea is an EP by the Belgian band Hooverphonic. It was released in 1998. The lead track was taken from the band's album Blue Wonder Power Milk. The remixed tracks, however, were from the band's previous effort, A New Stereophonic Sound Spectacular (1996).

Jefferson, North Carolina: McFarland & Company, 2009. . Later in the 1950s, the score was re-released on a 12-inch high-fidelity mono LP by Omega Disk (#1003). Omega Disk re-released it in 1960 as a stereophonic 33 1/3 LP (#OLS-3).

The first hoax directed toward mainstream culture involved the 1960 edition of the NBC show Masquerade Party.Michael DooleyJuly (2000) Here Lies Paul Krassner, at AIGA Journal of Graphic Design, vol. 18, no. 2, 2000Paul Krassner (1960) "A Stereophonic Hoax", The Realist n.

It has the only public Cinerama projection system outside the USA. The cinema opened on 8 April 1992, with a charity performance of Hook in 70 mm and 6-channel stereophonic sound. The first Cinerama screening was This is Cinerama on 16 June 1993.

On May 20, 2000, more than a decade after most television stations had converted to the audio format, WABM began transmitting its programming with stereophonic sound. In 2001, Sinclair purchased WABM outright, creating the Birmingham–Tuscaloosa–Anniston market's first television duopoly with WTTO/WDBB.

Daye, Martyn: Doris Day - Hooray For Hollywood reissue sleevenotes, 1997 The two-album set was released by Columbia under the catalog number C2L-5 on February 24, 1958. It was subsequently reissued as two separate volumes in both monaural and stereophonic versions as indicated below.

Reeves Sound Studios, undated, c. 1960s. Hazard Earle Reeves, Jr. (July 6, 1906 – December 23, 1986) was an American pioneer in sound and sound electronics, and introduced magnetic stereophonic sound to motion pictures. He was also the president of over 60 companies, including Cinerama Inc.

WOKC programming is relayed to an FM translator in order to widen the station's coverage area, especially during nighttime hours when the AM broadcasts with only 12 watts. The FM Broadcasting frequency also gives the listener the ability to listen in stereophonic high fidelity sound.

Fox officials were keen that the sound of their new widescreen film format should be as impressive as the picture, and that meant it should include true stereophonic sound. Previously, stereo sound in the commercial cinema had always employed separate sound films; Walt Disney's 1940 release Fantasia, the first film with stereophonic sound, had used Disney's Fantasound system, which utilized a three-channel soundtrack played from separate optical film. Early post-war stereo systems used with Cinerama and some 3-D films had used multichannel audio played from a separate magnetic film. Fox had initially intended to use 3-channel stereo from magnetic film for CinemaScope.

FM stereo broadcasts contain a pilot tone - a 19 kHz sinewave serving as a phase reference for decoding the stereophonic information. The system was developed jointly by Zenith and General Electric, and approved by the FCC in 1961. Normal monaural audio, the pilot tone and the double sideband stereophonic difference information are all mixed together into composite FM baseband signal extending to 53 kHz (stereo audio only) or 99 kHz (stereo audio plus an auxiliary subchannel, so-called SCA). The process of encoding the difference signal into the 23-53kHz band via double-sideband carrier-suppressed amplitude modulation is an instance of multiplexing (hence the name MPX filter).

Ampex Corporation HQ, the American electronic company, is based in Redwood City, California, United States. Home audio essentially, refers to any audio electronics intended for home use, such as home stereos and surround sound receivers, which are becoming the most popular piece of home audio equipment. Kornél Tolnai sought to get the perfect stereophonic sound (Greek, stereos = "solid" and phōnē ="sound"), commonly called "stereo", on new constructions of tape recorders. Stereo or stereophonic sound is the reproduction of sound using two or more independent audio channels through a symmetrical configuration of loudspeakers in such a way as to create the impression of sound heard from various directions, as in natural hearing.

Introduced as a "directional sound system" rather than a true stereophonic sound system, Perspecta did not use discretely recorded sound signals. Instead, three sub-audible tones at 30 Hz, 35 Hz, and 40 Hz are mixed appropriately and embedded in a monaural optical soundtrack, in addition to the audible sound. When run through a Perspecta integrator, depending on whenever each tone is present, the audio is fed into a left (30 Hz), center (35 Hz) and right (40 Hz) speaker. Unlike true stereophonic sound, which would be described as discrete tracks running in synchronization in time and phase, Perspecta merely panned a mono mix across various channels.

This enables backwards compatibility with mono equipment, which will only require the mid channel. Another example of M/S stereo is the stereophonic microgroove record. Lateral motions of a stylus represent the sum of two channels and the vertical motion represents the difference between the channels.

The movie theatre was founded in mid 1930s. The theatre created a sensation by screening 70mm films in the 1970s. Hindi films and English Hollywood films used to be screened regularly. The theatre had a steady audience for its comfortable seating, good screen quality and stereophonic sound.

Julie Is Her Name, Volume II is an LP album by Julie London, released by Liberty Records on August 1, 1958, under catalog numbers LRP-3100 (monaural) and LST-7100 (stereophonic). The musical personnel on the recording include Howard Roberts on guitar and Red Mitchell on bass.

From Series 14 onwards, outtakes were shown during the credits of each episode. For Series 4, a new theme tune was produced in stereophonic sound. This remained from then on, but was shortened from Series 17. From Series 13 onwards, all episodes were shot in widescreen.

Sound is generally the easiest sensation to implement with high fidelity, based on the foundational telephone technology dating back more than 130 years. Very high-fidelity sound equipment has also been available for a considerable period of time, with stereophonic sound being more convincing than monaural sound.

Made in DeLuxe Color, Cinemascope, and four-track stereophonic sound, the film is a remake of the black-and-white film The Rains Came (1939), also made by Fox, directed by Clarence Brown and starring Tyrone Power and Myrna Loy. However, the 1955 film changes the novel's ending.

These are the number-one albums in the United States per Billboard magazine's Best-Selling Pop LPs chart during the year 1959. Starting May 25, 1959, separate charts were listed for albums in mono and stereo formats, called Best-Selling Monophonic LPs and Best-Selling Stereophonic LPs, respectively.

Realistic TM-152 AM stereo tuner; sold for $A150 in 1988 In the late 1950s, before stereophonic record players became commonplace, and long before FM-stereo broadcasting, some stations (notably 3XY and 3UZ, but also 2CN and 2CY) partnered to present stereophonic programmes, one station to each channel, so the listener could set up a pair of radios and experience the stereo effect. The experiment ceased after a few months. In the mid-1980s some operators, including capital- city ABC stations, elected to have stereo modulation (to the Motorola C-QUAM standard) implemented on their transmitters. The system made no noticeable difference on standard radios, but was very effective on a compatible AM stereo receiver.

James' "There Goes My Heart" in 1958 was promoted as the first 45 rpm record to be released in stereophonic sound. Although it was the first stereo single to come out of the major record companies, edging out the RCA Victor release of Perry Como's "Love Makes the World Go 'Round" by mere days, the single was issued in September 1958, while the first overall 45 rpm records to be released in stereophonic sound were issued by Bel Canto Records in June 1958. MGM also distributed Cameo-Parkway Records briefly in 1967. Four albums and two singles were released under this arrangement before Allen Klein bought the Cameo-Parkway catalog and renamed the label ABKCO.

250px Stereophonic sound or, more commonly, stereo, is a method of sound reproduction that creates an illusion of multi-directional audible perspective. This is usually achieved by using two or more independent audio channels through a configuration of two or more loudspeakers (or stereo headphones) in such a way as to create the impression of sound heard from various directions, as in natural hearing. Thus the term "stereophonic" applies to so-called "quadraphonic" and "surround-sound" systems as well as the more common two-channel, two-speaker systems. It is often contrasted with monophonic, or "mono" sound, where audio is heard as coming from one position, often ahead in the sound field (analogous to a visual field).

The living room was planned around an elaborate stereophonic installation and served as a living area and dining room with a panoramic view onto the bay, and bay doors that opened onto the triangular terrace. Unfortunately the house was demolished in November 1991, just prior to the Trust councils classification.

Easy Does It is a 1968 album by singer Julie London. By 1967, Julie London was on her way to exiting her long-term contract with Liberty Records. The album was released by Liberty Records under catalog number LRP-3546 as a monophonic recording and LST-7546 as a stereophonic.

WEJS programming was relayed to an FM translator in order to widen the coverage area, especially at night when WEJS reduces power to only 20 watts. The translator also gave listeners the ability to listen on FM with high fidelity stereophonic sound. The translator went silent on May 16, 2020.

The bridged T topology is used for delay equalisation, particularly the differential delay between two landlines being used for stereophonic sound broadcasts. This application requires that the filter has a linear phase response with frequency (i.e., constant group delay) over a wide bandwidth and is the reason for choosing this topology.

Pepper, Maurice. "The London Philharmonic Orchestra in Russia", The Musical Times, February 1957, pp. 67–69. After the tour Boult retired as principal conductor, but remained closely associated with the orchestra, and was made its President in 1965. Most of his stereophonic recordings for EMI were made with the LPO.

KLGZ relays programming to an FM translator in order to widen the coverage area and also to provide listeners with the stereophonic high fidelity sound of FM. KLGZ (AM) uses a two tower antenna array which orients the signal to the northwest; the fm translator uses a non-directional pattern.

The reissue included stereophonic sound and the additional four minutes the studio had removed from Lucas' original cut. All home video releases also included these scenes. Also, the date of John Milner's death was changed from June 1964 to December 1964 to fit the narrative structure of the upcoming sequel, More American Graffiti.

Audio Fidelity Records, was a record company based in New York City, most active during the 1950s and 1960s. They are best known for having produced the first mass-produced American stereophonic long-playing record in November 1957 (although this was not available to the general public until March of the following year).

Born in New York City, she was raised in the countryside of New Hampshire with a family who preferred not to own a television. Her paternal grandfather was sound pioneer Hazard E. Reeves, who introduced magnetic stereophonic sound to film, and her maternal great- grandfather was Delaware U.S. Senator James H. Hughes.

The preface of Concrete Mathematics has the following paragraph: At the TUG 2010 Conference, Knuth announced a satirical XML-based successor to TeX, titled "iTeX" (, performed with a bell ringing), which would support features such as arbitrarily scaled irrational units, 3D printing, input from seismographs and heart monitors, animation, and stereophonic sound.

Tony C. Cutajar,Ix-Xandir F'Malta,Page 90,Malta 2001. Its stereophonic transmissions are now also accessible in Malta on DAB+. The year 1991 ushered in an era of broadcast pluralism in Malta.Tony C. Cutajar,Ix-Xandir F'Malta,Page 89,Malta 2001 This phenomenon brought to Radio Malta many a new talent.

Mekas 1966, pp. 230–231. Although the frames are entirely black or white, many people report seeing movement, shapes, or colors.Joseph 2008, p. 341. P. Adams Sitney, in his 1969 article defining structural film, characterized the structure of The Flicker as "one long crescendo–diminuendo... with a single blast of stereophonic buzz".

The CD side of a DualDisc contained standard 16-bit LPCM audio sampled at 44.1 kHz. On the DVD side, most record companies (with the notable exception of Sony Music: see below) provided the album's music in both high-resolution, 24-bit DVD-Audio (typically at a sample rate of 96 or 192 kHz for stereo and 48 or 96 kHz for surround sound) and lower-resolution, 16-bit Dolby Digital sound (typically sampled at 48 kHz). This was done to allow consumers with DVD-Audio players access to very high-resolution stereophonic and/or surround sound versions of the album, while also providing the lower-resolution Dolby Digital stereophonic and/or surround sound which is compatible with any DVD player.

Some network programs held on into the television era: Don McNeill's Breakfast Club, one of the first and longest-running morning shows in the country, hosted by Don McNeill, ran from 1933 to 1968. Other long-running ABC programs included the National Barn Dance, running from 1924 to 1960, and Paul Harvey's daily commentary, which ran from 1951 until his death in 2009. In 1958, ABC collaborated with its sister television network to produce the first national stereophonic sound broadcasts, when it simulcast The Plymouth Show (one of two shows hosted by Lawrence Welk at the time); the TV side broadcast one audio channel and the radio side broadcast the other in synchronization; viewers had to tune into both devices to achieve the stereophonic effect.

In these instances, the 70MM prints would be mixed for stereo, while the 35MM reduction prints would be remixed for mono. Some films shot in 35MM, such as Camelot, featured four-track stereophonic sound and were then "blown-up" to 70MM so that they could be shown on a giant screen with six-track stereophonic sound. Unfortunately however, many of these presentations were only pseudo stereo, utilizing a somewhat artificial six-track panning method. A process known somewhat derogatorily as the "Columbia Spread" was often used to synthesize Left Center and Right Center from a combination of Left and Center and Right and Center, respectively, or, for effects, the effect could be "panned" anywhere across the five stage speakers using a one-in/five-out pan pot.

The move generated such a great deal of publicityAlfred R. Zipser, "Stereophonic Sound Waiting for a Boom", The New York Times, August 24, 1958, p. F1. that early stereo phonograph dealers were forced to demonstrate on Audio Fidelity Records. Also in December 1957, Bel Canto Records, another small label, produced its own stereophonic demonstration disc on multicolored vinyl so that stereo dealers would have more than one choice for demonstration. With the supplied special turntables featuring a clear platter lighted from underneath to show off the color as well as the sound, the stunt worked even better for Bel Canto, whose roster of jazz, easy listening and lounge music, pressed onto their trademark Caribbean-blue vinyl sold well throughout 1958 and early into 1959.

Audio guides in English and German are also available. The background music to the exhibition was composed by former Bonanza Banzai frontman and producer Ákos Kovács. The scoring includes the work of a string orchestra, special stereophonic mixes, and sound effects. Visitors may not take photographs or use video cameras inside of the building.

Sadonius became the lead singer of Hooverphonic (then Hoover) in 1995. The band recorded their debut album A New Stereophonic Sound Spectacular in 1996 and gained international recognition through featuring of the Stereophonic's track "2Wicky" on the soundtrack of Bernardo Bertolucci's 1996 film Stealing Beauty. Shortly after the album release Sadonius left on amicable terms.

Elvis Is Back! is the fourth studio album by American rock and roll singer Elvis Presley, released by RCA Victor in April 1960. It was Presley's first album issued in stereophonic sound. Recorded over two sessions in March and April, the album marked Presley's return to recording after his discharge from the U.S. Army.

Nevertheless, Cook designed and sold a two-channel preamp meant for binaural playback. While this preamp did not allow for the manual setting of turnover and rolloff of other manufacturers' disks, it did work for Cook-type binaural records. Livingston had also come out with a "stereophonic" integrated amplifier (i.e., including the preamps) by 1954.

With a Smile and a Song was an album, featuring Doris Day and Jimmy Joyce and the Children's Chorus, recorded from July 7 to 14, 1964 and released by Columbia Records on October 19, 1964. It was issued as a monophonic album (catalog number CL-2266) and a stereophonic album (catalog number CS-9066).

My Son, the Folk Singer is an album by Allan Sherman [monophonic W-1475/stereophonic WS-1475], released by Warner Bros. Records in 1962. On the album sleeve, the title appears directly below the words "Allan Sherman's mother presents." The album, recorded before a live audience, is filled with Jewish culture references and in-jokes.

CD notes, bbc.co.uk In most cases, Atkinson played the lead characters, with other voices provided by Hugh Thomas and Peter Wilson.The Atkinson People, britishcomedy.org.uk Following the precedent set by The Hitchhiker's Guide to the Galaxy, the series was also an early adopter of stereophonic sound; it was recorded in 1978, and broadcast in 1979.

Production for this film started from late September to mid-November 1952. It was filmed in 1.37:1 full frame aspect ratio while it was released in 1.85:1 anamorphic widescreen. The film was Universal-International's first with stereophonic sound. It was also originally planned to be photographed in 3-D, but those plans were scrapped sometime during production.

Julie is an LP album by Julie London, released by Liberty Records under catalog numbers LRP-3096 (monaural) in 1957 and LST-7004 (stereophonic) in 1958. The cover by art director Charles Ward was nominated at the 1st Annual Grammy Awards for Best Album Cover but lost to Frank Sinatra Sings for Only the Lonely.Owen 2017, p. 77.

The original European release includes live versions of "Chime" and "Midnight". Orbital was released in 1992 with a significantly different cover and track listing in the United States, incorporating remixes and non-album singles. All tracks on the U.S. release had also been remastered using the Bedini Audio Spectral Enhancer (B.A.S.E.) to enhance their stereophonic effects.

Microsoft was sued by Agere for theft of key technology used in Internet telephony. The allegations concern meetings between Agere and Microsoft in 2002 and 2003, where the companies discussed selling Agere's stereophonic acoustic echo cancellation technology to Microsoft. This technology is used to improve the sound of telephone and teleconference communications over the Internet (i.e., VOIP).

However, the location of the original multi-track tapes is unknown. As a result, with only the full-track quarter-inch 15 IPS monophonic composite master being available from which Capitol mastered their records in 1962, no stereophonic version of the song is currently possible and it remains in monophonic sound on the CD re-issue.

For instance, the left and right channels of a stereo source can be panned straight up, that is sent equally to both the left output and the right output of the mixer, creating a dual mono signal. An early panning process was used in the development of Fantasound, an early pioneering stereophonic sound reproduction system for Fantasia (1940).

The album was released in the LP format on Capitol in September 1966 in both monaural and stereophonic editions (catalogue numbers T 2568 and ST 2568, respectively). Although never released individually as a CD, the band's first two albums were reissued on Liberty Bell as a "two-fer" CD, along with bonus tracks (catalogue number PCD 4365).

The album was released in the LP format on Capitol in August 1967 in both monaural and stereophonic editions (catalogue numbers T 2745 and ST 2745, respectively). Although never released individually as a CD, the band's third and fourth albums were reissued on Liberty Bell as a "two-fer" CD (catalogue number PCD-4366), along with bonus tracks.

The arcade game uses raster graphics on a CRT monitor displaying 4096 colors and amplified stereophonic sound. The visuals are reflected into view via a mirror in the cabinet. The arcade cabinet is upright, with the marquee bearing the game's name protruding outward. There are large, blue plastic molds around the cabinet designed to resemble an alien cocoon.

KYET (1170 AM) is a radio station broadcasting a Classic Country format. Licensed to Golden Valley, Arizona, United States, it serves the Mohave County area. The station is currently owned by Grand Canyon Gateway Broadcasting, LLC, owned by Arizona State Mine Inspector Joe Hart and his wife Rhonda. KYET transmits a stereophonic multiplex signal in the C-QUAM standard.

Full-screen video playback is supported on nearly all X configurations, including multi-head Xinerama setups, and on displays connected to the TV-Out. Brightness, contrast and saturation of the video can be dynamically adjusted during playback. 4.0, 4.1, 5.0, 5.1 and stereophonic sound is supported. On computers with an infrared port, Totem can be remotely controlled via LIRC.

The medium of broadcast is English, Hindi or language of the region. Gyan Vani FM radio uses stereophonic FM transmitters, and professionals operate the radio stations. Each nodal centre is provided with media from Indira Gandhi National Open University's (IGNOU) Electronic Media Production Centre. The centre serves purposes of production, dissemination and transmission of educational material.

CD cover. The album was released in the LP format on Capitol in May 1966 in both monaural and stereophonic editions (catalogue numbers T 2501 and ST 2501, respectively). Although never released individually as a CD, the band's first two albums were reissued on Liberty Bell as a "two-fer" CD, along with bonus tracks (catalogue number PCD-4365).

WMTD relays its programming to an FM translator is order to improve coverage, especially at night when the AM frequency reduces power to only 13 watts. The translator also gives the advantage of FM broadcasting with its improved high fidelity stereophonic sound. The 98.3 frequency is in fact the primary branding used on the station logo.

Harari, p. 16 Between 1956 and 1959, she recorded a series of discs for the French recording company Ducretet-Thomson. They were not widely available outside France, and as the company failed to keep pace with the introduction of stereophonic recording its catalogue went out of print during the 1960s.Oliver, Michael "Fauré – 13 Barcarolles", Gramophone, August 2002, p.

The word stereophonic derives from the Greek (stereós, "firm, solid")στερεός, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library \+ (phōnḗ, "sound, tone, voice")φωνή, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library and it was coined in 1927 by Western Electric, by analogy with the word "stereoscopic".

Von Recklinghausen worked at Electro Audio Dynamics in 1973. In 1975, he was appointed Vice President of Research and Development for KLH, where he patented computer controlled loudspeakers. He was a member of the National Stereophonic Radio Committee. He served the Audio Engineering Society (AES) as president in 1967, and was the journal editor from 1991-2004.

When Audio Fidelity released its stereophonic demonstration disc, there was no affordable magnetic cartridge on the market capable of playing it. After the release of other demonstration discs and the respective libraries from which they were culled, the other spur to the popularity of stereo discs was the reduction in price of a stereo cartridge, for playing the discs–from $250 to $29.95 in June 1958."Audio Fidelity Bombshell Had Industry Agog", Billboard, Dec. 22, 1962, p. 36. The first four mass-produced stereophonic discs available to the buying public were released in March 1958—Johnny Puleo and his Harmonica Gang Volume 1 (AFSD 5830), Railroad – Sounds of a Vanishing Era (AFSD 5843), Lionel – Lionel Hampton and his Orchestra (AFSD 5849) and Marching Along with the Dukes of Dixieland Volume 3 (AFSD 5851).

With a cast of fifteen thousand extras, a leading star, and being shot on 70mm film with stereophonic tracks, it was the most expensive film ever made at that time.Bodaken, Bruce. The Managerial Moment of Truth: The Essential Step in Helping People Improve, Simon & Schuster (2006) p. 159 The nine-minute chariot race, for example, took six months to film.

Traditionally, two musicians were required to play the siku, each one taking one row of the instrument. One part of the instrument is called ira, another arka. It is considered that spiritually ira corresponds to male principle and arka to female. When many musicians divide in two parts, first playing ira and second playing arka, this gives Andean music a distinctive stereophonic sound.

The short featured no dialogue, only music which was conducted by Leopold Stokowski. When the budget for the short grew very expensive, Stokowski suggested to Disney that it could be a feature film with other pieces of classical music matched to animation. Disney agreed and production started. Fantasia would also become the first commercial film to be released in stereophonic sound.

London by Night is an LP album by Julie London, released by Liberty Records under catalog numbers LRP-3105 in monaural and LST-7105 in stereophonic form in 1958. The accompaniment was by Pete King and His Orchestra. The album was reissued, combined with the 1958 Julie London album About the Blues, in compact disc form in 2001 by EMI.

It was filmed in 3-D Page 79: "The film was shot in the short-lived 3-D (three-dimensional) process." and was available with stereophonic sound. The story begins with Mike Hammer on the vengeance trail when Jack, a friend, is murdered. Hammer sets out to find the killer, working his way through an increasingly large pile of suspects (and corpses).

Bright and Shiny is an album released by Columbia Records, featuring Doris Day backed by Neal Hefti's orchestra, on March 20, 1961. It was released in two forms; a monaural LP (catalog number CL-1614) and a stereophonic LP (catalog number CS-8414). A song of the same name was composed especially for this album. Neal Hefti directed the orchestra.

Signed Sealed and Delivered is a song by Cowboy Copas (co-credited to Lois Mann). Copas recorded a hit version for King Records which reached #2 on the Country chart in 1948. Copas would later re-record the song in 1961 for Starday Records, in Stereophonic Sound and with a more modern (for the times) style. This version also charted, reaching #10.

CD cover. The album was released in the LP format on Capitol in January 1967 in both monaural and stereophonic editions (catalogue numbers T 2636 and ST 2636, respectively). Although never released individually as a CD, the band's third and fourth albums were reissued on Liberty Bell as a "two-fer" CD (catalogue number PCD-4366), along with bonus tracks.

Christian Radich, the ship featured in the film. Windjammer is a 1958 documentary film that recorded a voyage of the Norwegian sail training ship Christian Radich. Windjammer was produced by Louis de Rochemont and directed by Louis de Rochemont III. It was the only film to be shot in the widescreen Cinemiracle process, which came with a seven-track stereophonic soundtrack.

Various brand models were the subject of dispute, including stereophonic cassette players and radios that supported headphone use; some with small carry handles, others belt clips or shoulder straps. Pavel's team argued that "a belt in the form of a shoulder strap was not for personal wear."Andreas Pavel v Sony Corporation, Sony UK Ltd, Toshiba Ltd. 21 March, 1996.

Arthur C. Keller (August 18, 1901 – August 25, 1983) was a pioneer of high- fidelity and stereophonic recording techniques. He attended Cooper Union, Yale University and Columbia University. He joined the engineering department of Western Electric in 1917, and became an employee of Bell Laboratories in 1925. Keller's invention of a "moving-coil" playback stylus made possible the first hi-fi records.

Cha Cha! Billy May is a studio album released by Billy May in 1960 on Capitol LP record T1329 (monophonic) and ST1329 (stereophonic). The album features instrumental Latin renderings of big band standards and theme songs of many top musical outfits. Many of the arrangements are done tonge-in-cheek, even Capitol's own publicity described "Twelfth Street Rag-Cha-Cha" as "unforgivable".

After McFeyffe is knocked unconscious, the group believes they have returned to the real world. Jack Hamilton and Bill Laws form a small business that seeks advances in stereophonic technology. The disclosure of McFeyffe's Marxist allegiances is dismissed as unproveable. The novel ends ambiguously, as it is unclear if the group has returned to reality or is still living in someone else's universe.

High-end loudspeaker design grew out of the demands of the motion picture industry and most of the early loudspeaker pioneers worked in Los Angeles where they attempted to solve the problems of cinema sound. Stereophonic sound was in its infancy, having been pioneered in Britain by an engineer who worked for EMI. Designing monitors for recording studios was not a major priority.

RCA imported these tapes into the USA. Two-track stereophonic tapes were more successful in America during the second half of the 1950s. They were duplicated at real time (1:1) or at twice the normal speed (2:1) when later 4-track tapes were often duplicated at up to 16 times the normal speed, providing a lower sound quality in many cases.

There have also been cases in which two recording lathes (for the sake of producing two simultaneous masters) were fed from two separate microphones; when both masters survive, modern engineers have been able to synchronize them to produce stereo recordings from a time before stereophonic recording technology existed (e.g., Elgar Remastered, Somm CD 261, and Accidental Stereo, Pristine Classical CD PASC422).

In 1954, he worked with Leopold Stokowski and the NBC Symphony Orchestra on the experimental stereophonic recording of ballet suites from Gian Carlo Menotti's Sebastian and Prokofiev's Romeo and Juliet. He also became RCA's liaison with Arturo Toscanini, in the conductor's last years. It was Toscanini who encouraged him to study conducting. For five years Gerhardt worked at Westminster Records in New York.

FM broadcasting is permitted in the FM broadcast bands between about 65 and 108 MHz in the very high frequency (VHF) range. The exact frequency ranges vary somewhat in different countries. FM stereo radio stations broadcast in stereophonic sound (stereo), transmitting two sound channels representing left and right microphones. A stereo receiver contains the additional circuits and parallel signal paths to reproduce the two separate channels.

Born in the Maxfield Park area of Kingston in 1960,Barrow, Steve & Dalton, Peter (2004) The Rough Guide to Reggae, 3rd edn., Rough Guides, , p. 274 Palmer began his career performing with sound systems such as Stereophonic Sound with General Echo in the late 1970s, taking inspiration from the success of his neighbour Leroy Smart.Larkin, Colin (1998) The Virgin Encyclopedia of Reggae, Virgin Books, , p.

Logo as WNSA "Western NY Sports Authority" – sports radio. October 2000 to May 2004. This station was a relatively rare monaural FM station, unlike its stereophonic counterparts; this was in part to increase the station's coverage area. Between October 2000 and April 2004, Empire Sports Network, under VP/GM Bob Koshinski, operated the radio station, aimed at fans from Western New York into the Finger Lakes.

Else it would be five tracks in all. All the songs were recorded at the England Recording Studio with 2 track stereo split recording. Audio Copyrights given to Coloumbia Records for Gramophone records, and HMV Calcutta for audio cassettes. In the track "Prema Preeti Nannusiru", it could be noticed that "Prema" is heard from in left channel and "Preethi" from the right, giving it a stereophonic effect.

WFNO relays its programming to an FM translator. This provides the ability to broadcast WFNO programming around the clock, in high fidelity stereophonic sound. An unusual twist is that the translator's call sign begins with a "K" while the main station's call letters, WFNO, begin with a "W." The Mississippi River is the dividing line in most cases between K and W call signs.

Faceless has no spoken dialogue – a natural consequence of the prohibition of audio surveillance in the UK. Instead, the story is told by a voice-over narrator. The film's soundtrack is almost entirely non-diegetic, comprising electronic and industrial elements composed in 5.1 surround sound to bring depth to the flat, wide-angle CCTV images, contrasted with predominantly stereophonic solo piano recordings by Rupert Huber.

'Billy Rose's Jumbo' is the soundtrack album to the 1962 film of the same name: featuring Doris Day, Stephen Boyd, Jimmy Durante, and Martha Raye. Columbia Masterworks Records released the recording on November 12, 1962 under catalog numbers OL-5860 (monaural LP) and OS-2260 (stereophonic). "Over and Over Again" was released as a single on CBS with "This Can't Be Love" as the B-side.

Another application occurs when stereophonic sound is connected by landline, for instance from an outside broadcast to the studio centre. It is important that delay is equalised between the two stereo channels as a difference will destroy the stereo image. When the landlines are long and the two channels arrive by substantially different routes it can require many filter sections to fully equalise the delay.

Having been a record collector since the 1920s, Nunn began to make records to improve their audio quality. He was a recording engineer who believed monophonic sound (mono) was better than stereophonic sound (stereo). His records impressed High Fidelity magazine and G. A. Briggs, the designer of Wharfedale speakers. In 1947, he started Audiophile Records in Saukville, Wisconsin before moving it to Mequon, Wisconsin in 1965.

Jal Bin Machhli Nritya Bin Bijli () is a 1971 Bollywood romance film directed by V. Shantaram, with Sandhya and Abhijeet as leads, along with Vatsala Deshmukh and Dina Pathak. This was the first Indian film for which all songs were recorded in stereophonic sound. The film, however, had mono soundtrack. All songs were recorded and mixed by Mangesh Desai at V. Shantaram's Rajkamal Kalamandir studios.

Most were intended only for low-fidelity voice recording in dictation machines. The first tape cartridge designed for general consumer use, including music reproduction, was the Sound Tape or Magazine Loading Tape Cartridge (RCA tape cartridge), introduced in 1958 by RCA. Prerecorded stereophonic music cartridges were available, and blank cartridges could be used to make recordings at home, but the format failed to gain popularity.

Belafonte Sings the Blues is an album by Harry Belafonte, released by RCA Victor (LPM/LSP-1972) in 1958. It was recorded in New York City on January 29 (with Alan Greene as conductor) and March 29 (with Bob Corman as conductor), and in Hollywood on June 5 and 7 (conducted by Dennis Farnon). The album was Belafonte's first to be recorded in stereophonic sound.

The Tara Theatre was opened in June 1968 by Loew's Theatres. It embodies the modernist architecture popular at the time. Originally called Loew's Tara, the theater's name memorializes the fictional Tara plantation, home of the O'Hara family in Margaret Mitchell's novel Gone with the Wind. Tara opened with a 70mm, stereophonic presentation of the film Gone with the Wind on its 60-foot screen.

Maaveeran () is a 1986 Indian Tamil-language action film directed by Rajashekar. A remake of the 1985 Hindi film Mard, it stars Rajinikanth, Ambika and Jaishankar. The film revolves around a rude princess, who falls in love with a simpleton after initially being hostile towards him. Maaveeran was the first in Tamil to be shot in 70 mm film format, and have a six-track stereophonic sound.

He began recording for Decca Records in October 1950 with the Orchestre de la Suisse Romande. These monaural recordings included Mozart's Symphony No. 29 and Symphony No. 34 and Serenade No. 9 "Posthorn". Maag's early stereophonic sound recordings for Decca were well received, and many have remained in the catalogs for decades. The original LPs, particularly with the London Symphony Orchestra, have become collector's items.

Perspecta was a directional motion picture sound system, invented by the laboratories at Fine Sound Inc. in 1954. The company was founded by Mercury Records engineer C. Robert (Bob) Fine, husband of producer Wilma Cozart Fine. As opposed to magnetic stereophonic soundtracks available at the time, Perspecta's benefits were that it did not require a new sound head for the projector and thus was a cheaper alternative.

Amplitude panning is a technique in sound engineering where the same sound signal is applied to a number of loudspeakers in different directions equidistant from the listener. Then, a virtual source appears to a direction that is dependent on amplitudes of the loudspeakers. The direction may not coincide with any physical sound source. Most typically amplitude panning has been used with stereophonic loudspeaker setup.

The purpose for this form of multitrack recording was to make mixing down to a single optical track easier and was not intended to be a recording for stereophonic purposes. The very first two-track recording MGM made (although released in mono) was "It Never Rains But What It Pours" by Judy Garland, recorded on June 21, 1938, for the movie Love Finds Andy Hardy.

In 1960, he began to produce records for RCA and Reader's Digest. His partner was the legendary recording engineer Kenneth Wilkinson of Decca Records (then RCA's affiliate in Europe). This was the beginning of a partnership that lasted through 4,000 sessions. Their first major project was a 12-LP set for Reader's Digest Recordings: A Festival of Light Classical Music, issued in both monaural and stereophonic versions.

By the late 1950s, RCA Victor had fewer high prestige orchestras under contract than Columbia had: RCA Victor recorded the Chicago Symphony Orchestra, the Boston Symphony Orchestra, and the Boston Pops, whereas Columbia had the Cleveland Orchestra, the Philadelphia Orchestra, and the New York Philharmonic Orchestra under contracts. On October 6, 1953, RCA Victor held experimental stereophonic sessions in New York City's Manhattan Center with Leopold Stokowski conducting a group of New York City musicians in performances of George Enescu's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA Victor made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.

He conducted all the music (with the exception of a "jam session" in the middle of the film) and included his own orchestrations for the Toccata and Fugue in D minor and Night on Bald Mountain/Ave Maria segments. Stokowski even got to talk to (and shake hands with) Mickey Mouse on screen, although he would later say with a smile that Mickey Mouse got to shake hands with him. This footage of Stokowski was incorporated into Fantasia 2000. A lifelong and ardent fan of the newest and most experimental techniques in recording, Stokowski saw to it that most of the music for Fantasia was recorded over Class A telephone lines laid down between the Academy of Music in Philadelphia and Bell Laboratories in Camden NJ, using an early, highly complex version of multi-track stereophonic sound, dubbed Fantasound, which shared many attributes with the later Perspecta stereophonic sound system.

Britten, like Elgar and Walton before him, was signed up by a major British recording company, and performed a considerable proportion of his output on disc. For the Decca Record Company he made some monaural records in the 1940s and 1950s, followed, with the enthusiastic support of the Decca producer John Culshaw, by numerous stereophonic versions of his works.Stuart, Philip. Decca Classical 1929–2009, accessed 24 May 2013.

Martin Laurent Picandet (; born 22 September 1976), better known by his stage name Martin Solveig (), is a French DJ, singer, songwriter and record producer. He hosts a weekly radio show called C'est La Vie on radio stations worldwide, including Radio FG in his homeland. He has been active since 1994. Solveig manages his own label called Mixture Stereophonic and was ranked number 29 in the 2011 DJ Mag Top 100 DJs.

C'est la Vie is the third studio album by French DJ and record producer Martin Solveig. It was released on 2 June 2008 by Universal Licensing Music and Mixture Stereophonic. It spawned the singles "C'est la Vie", "I Want You" and "One 2.3 Four". A special edition of the album, titled the Definitive Edition, was released on 28 September 2009, containing the single "Boys & Girls" and a bonus disc of remixes.

A collection of his work, Stunning and Other Plays, was published by Theatre Communications Group in 2011, and a second collection, 1789/1978, was published in October 2017. Adjmi is currently at work on The Stumble, a commission for Lincoln Center Theatre, and Stereophonic, a co-commission for Second Stage Theatre and Center Theater Group. His memoir entitled Lot Six will be published in June 2020 by HarperCollins.

The products continue to be branded as Harman Kardon. In 1958, Harman Kardon introduced one of the first stereo receivers, the Festival TA230, once again aimed at non-technical users with the intention of making high-fidelity stereo widely available. Stereo sound was achieved by using one channel from the AM band, and one channel from the FM band. This early form of stereophonic reception was called simulcast stereo.

In 1958 they recorded Dumky by Antonín Dvořák for German label Deutsche Grammophon, the first stereophonic recording in the history of the label. The trio performed most of the great piano trios, touring abroad and recording extensively. It received many awards, including the Grand Prix du Disque. Among their notable recordings is one of the Mendelssohn Piano Trio No. 1 which has been re- released on CD by Supraphon.

Kondaveeti Donga () is an Indian 1990 Telugu-language vigilante action film directed by A. Kodandarami Reddy starring Chiranjeevi, Vijayashanti and Radha in key roles. Upon release, the film received positive reviews, and emerged as a Blockbuster at the box office. Subsequently, the film was dubbed into Tamil as Thangamalai Thirudan. The technically brilliant film was the first Telugu film to be released on a 70 mm with 6-Track Stereophonic sound.

Such sonic wave energy passes through the eardrum and the middle ear before finally activating the auditory nerve. These different mechanisms would explain the following observed differences between cartilage and bone pathways: 1\. A variety of sound pressure levels can be created by contact pressure in cartilage conduction compared with that in bone conduction. 2\. A sound in cartilage conduction is more stereophonic than that in bone conduction. 3\.

Spectrum of an FM broadcast signal. The pilot tone is the orange vertical line on the right of the spectrogram.In FM stereo broadcasting, a pilot tone of 19 kHz indicates that there is stereophonic information at 38 kHz (19×2, the second harmonic of the pilot). The receiver doubles the frequency of the pilot tone and uses it as a frequency and phase reference to demodulate the stereo information.

Universal Studios digitally restored It Came From Outer Space, and in October 2016 released it on Blu-ray. The film is presented in its original 3D with three-track stereophonic sound. Also included is a non-3D "flat" version in mono sound and the 3D and flat theatrical release trailers. Rounding out the Blu-ray package is a documentary on Universal's 3D films and a "making of" voice-over commentary track.

Programme for National Symphony Orchestra performances of December 13–15, 1960. One of the more unusual RCA recordings with the orchestra was of the complete ballet music from the opera King Henry VIII by Camille Saint- Saëns, one of the very few recordings conducted by Walter Damrosch. Years later, Howard Mitchell made a series of stereophonic recordings with the orchestra for RCA. Antal Doráti recorded with the orchestra for Decca Records.

In addition to black and white, a third key color represented through Miku's clothing was red, representing life. The composer and sound director was Shigekiyo Okuda. During the concept development, one of the main concepts was using stereophonic sound to reinforce the atmosphere. Due to the nature of the project, Okuda considered it important that they convey a three-dimensional feeling using sound projected from both left and right.

The album was released in April 1968 in the LP format by Capitol in both monaural and stereophonic editions (catalogue numbers T 2863 and ST 2863, respectively), and on 8-track tape (8XT 2863). A Capitol CD reissue appeared in 1995 (catalogue number 80130). The volume number in the title uses a Roman numeral rather than the Arabic numeral used on the previous release. Several of the songs from Vol.

Early American 2-track stereophonic tapes were very expensive. A typical example is the price list of the Sonotape/Westminster reels: $6.95, $11.95 and $17.95 for the 7000, 9000 and 8000 series respectively. Some HMV tapes released in the USA also cost up to $15. The history of stereo recording changed after the late 1957 introduction of the Westrex stereo phonograph disc, which used the groove format developed earlier by Blumlein.

Engineers make a technical distinction between "binaural" and "stereophonic" recording. Of these, binaural recording is analogous to stereoscopic photography. In binaural recording, a pair of microphones is put inside a model of a human head that includes external ears and ear canals; each microphone is where the eardrum would be. The recording is then played back through headphones, so that each channel is presented independently, without mixing or crosstalk.

Halstead was born in Huntington, New York. His father, William S. Halstead, was an inventor in radio and television development.He held many patents for his pioneer work in radio and television, including stereophonic FM radio, and developing mountain-top relay systems that were key for building TV Networks in Japan and Jordan.His mother, Leslie Munro Halstead, was the first woman to ever become the Vice President of a major advertising agency, Kenyon & Eckhardt.

After World War II ended, movie-going habits changed with the advent of television. To keep pace with audience expectations, the Lafayette changed, too. Equipment to handle 3-D film was installed in early 1953 and many notable entries in the short-lived 3-D boom played at the Lafayette. Later that year, the Lafayette was the first theatre in Rockland County to install CinemaScope apparatus to show wide-screen, stereophonic-sound movies.

Stereophonic Musical Listenings That Have Been Origin in Moving Film "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan" is the soundtrack to the 2006 mockumentary film Borat, released by (the heretofore nonexistent) "Kuzçek Records" in association with Downtown and Atlantic Records. The soundtrack was released digitally through the iTunes Store on October 24, 2006, and in stores and through other online music stores on Tuesday, October 31, 2006.

Therefore, information may be traveling in both directions between the user and the remote location. Critical the creating an in-person experience is the presence of high-definition video perfectly synchronized with stereophonic sound. A minimum system usually includes visual feedback. Ideally, the entire field of view of the user is filled with a view of the remote location, and the viewpoint corresponds to the movement and orientation of the user's head.

The Song You Heard When You Fell in Love was an LP album issued by Atlantic Records in 1958, featuring vocalist Betty Johnson. It was recorded in New York City. Except for the title song, all the numbers on the album were old standards, many dating back to the 1930s. Two versions of the album were released, a monophonic version (catalog number LP 8027) and a stereophonic version (catalog number SD 8027).

It was impossible to move beyond that impasse, and the project was ultimately abandoned. However, in 2002, the second multimedia novel, Hyleyn, included an abridged version of Sinkha based on the synopsis of this aborted movie. Subtitled First Encounter, it contained fewer, but enhanced (although static) CG artworks, as well as an expanded description of the original events. In 2008, the original Sinkha was remastered with 24-bit graphics and a full stereophonic soundtrack.

A notable difference between the mono and stereo versions of the Capitol album is that the Cinemascope version of the film was used in the making of the mono version, while the Todd-AO version was used for the stereophonic release. Although the singing is the same in both, different inflections are noticeable in the brief spoken dialogue retained on the album, for instance, in the spoken portion of the song "Pore Jud Is Daid".

Because of the complex equipment this system required, Disney exhibited the movie as a roadshow, and only in the United States. Regular releases of the movie used standard mono optical 35 mm stock until 1956, when Disney released the film with a stereo soundtrack that used the "Cinemascope" four-track magnetic sound system. EMI (UK) was the first company to release commercial stereophonic tapes. They issued their first Stereosonic tape in 1954.

In 2000, Love Finds Andy Hardy was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". This was the first film in which Metro-Goldwyn-Mayer recorded at least part of the soundtrack in stereophonic sound, a practice which was used for a number of MGM musical comedies beginning the late 1930s. The film was presented in standard monaural sound.

In the 1980s, with the onset of digital technology, the Australian Broadcasting Corporation used the Packman Audio Noise Suppressor, a machine developed by a sound engineer, Robert Parker (1936–2004), to produce stereophonic sound of high quality from 78rpm mono recordings (see The Stage, 1 March 2005). Dell provided the sleeve notes for Dance Bands UK (1988), a BBC compact disc of ABC "transfer" recordings, thereby illustrating his authority as a historian of such music.

After Nawab Rajamanikkam, it was Manohar who took theatre to a higher plane. Most of the 31 plays in which he acted - altogether totaling 7,950 performances - were adaptations or interpretations of historical incidents or mythological stories. Famous among Manohar's plays are Ilangeswaran, Chanakkiya Sabadam, Soorapadman, Sisupalan, Indrajith, Sukrachariyar, Naragasooran and Thirunavukkarasar. He was a pioneer in introducing 'dramascope' with stereophonic sound system, split second transformation of sets and pyrotechniques to represent battle scenes.

This was the first film to collect more than 1.5 crores in its first week run and a total collection of Rs 4.5 crores. It surpassed another record of highest gross collection in single theatre in the state in Hyderabad (Previous record by "Premabhishekam" in 1981 in Vijayawada). Jaya Prada, Radha and Mandakini acted as the heroines. The film was the first 70 mm 4 track Stereophonic sound movie in Telugu cinema.

Alan Blumlein carried out his research into binaural sound and stereophonic gramophone recording here. "Trains at Hayes Station" (1935) and "Walking & Talking" are two notable films Blumlein shot to demonstrate stereo sound on film. These films are held at the Hayes EMI archive. The former Nestlé Factory In 1939, working alongside the electrical firms A.C. Cossor and Pye, a 60 MHz radar was developed, and from 1941 to 1943 the H2S radar system.

Randy Cain later rejoined, and the original trio of William Hart, Wilbert Hart, and Randy Cain became The Orphonics. The name came from a stereophonic machine the Harts had in their basement. In 1965, William Hart was working in a barbershop in Philadelphia. A man named Stan Watson came into the barbershop one day, where William Hart, who had written quite a few songs by this point, would sing while playing his guitar.

This album is possibly unique for the orchestral arrangement and stereophonic set-up by Billy May. Due to Capitol's signature "full-spectrum Stereo sound," the audience can distinctly hear the placement of specific orchestral pieces in the studio at the time of the recording, i.e. differences in brass sections from left, to right, to all together in the center. This is most apparent to the apt listener in the album's opening hit, "Day by Day".

When the show debuted nationwide, The Lawrence Welk Show was billed as the Dodge Dancing Party in 1955 and 1956. From 1956 to 1959, Lawrence Welk was broadcast two nights per week. The second show's title was Lawrence Welk Presents Top Tunes and New Talent (1956–58) and then Lawrence Welk's Plymouth Show, after another Chrysler vehicle (1958–59). The Plymouth show was the first American television program to air in stereophonic sound.

He helped to build the first kinescopic recorder and stereophonic sound recorder for Warner Brothers. In 1954, he signed with CBS to take small roles as the singer or young lover in a variety of legendary series, including The Jack Benny Show. He sang Groucho Marx's popular "It's delightful, it's Delovely, it's DeSoto" advertising jingle for the former DeSoto automobiles. In 1955, Durant met big band leader Ray Anthony and began filming various television advertisements.

Acosta frequently travelled to the United States to stay up to date with technology, particularly the Gates transmitters and equipment. Acosta died in 1971, before FM became predominant. In 1962 the station had some employees, and became the first FM radio station broadcasting in stereophonic sound in Puerto Rico and Latin America. After Acosta's death the station was managed by Suarez, known as Doña Vicky, and the Acostas' son José Julián and daughter Carola.

The film was released on November 7, 1955 by Paramount Pictures, and was one of the team's highest-budgeted pictures at $1.5 million ($12,589,869.40 in 2011 dollars). The film was shot in VistaVision and Eastmancolor, with prints by Technicolor, and stereophonic sound by Perspecta. Costumes were by Paramount wardrobe designer Edith Head. Artists and Models marked the first time Lewis worked with former Looney Tunes director Frank Tashlin, whom he admired greatly.

Walt Disney began experimenting with multichannel sound in the early 1930s as noted above.T. Holman, Surround Sound: Up and Running, Second Edition, Elsevier, Focal Press (2008), 240 pp. The first commercial motion picture to be exhibited with stereophonic sound was Walt Disney's Fantasia, released in November 1940, for which a specialized sound process (Fantasound) was developed. As in the Carnegie Hall demonstrations six months earlier, Fantasound used a separate film containing four optical sound tracks.

"Binaural Devices", The New York Times, March 21, 1954, p. XX-9. Rensselaer Polytechnic Institute began a weekly series of live stereophonic broadcasts in November 1952 by using two campus-based AM stations, although the listening area did not extend beyond the campus."Binaural Music on the Campus", Popular Science, April 1953, p. 20. Tests of six competing FM-only systems were conducted on KDKA-FM in Pittsburgh, Pennsylvania during July and August 1960.

The song was published as a single in the last days of March 1967, in monophonic version, as the A-side of a 7″ vinyl disc which had È dall'amore che nasce l'uomo in the B-side. The cover picture, which also featured a psychedelic atmosphere, was shot by Mario Schifano. In October 1968, the song was included in the album Stereoequipe, where it was released for the first time in stereophonic version.

The set also contains two previously unissued recitals: March 5, 1951 at Carnegie Hall; and November 12, 1967 at Whitman Auditorium, Brooklyn College. The recordings from 1959 onward are in stereophonic sound, and from 1981 onward the recordings were made digitally. Previously issued material uses the best existing transfers, while the new material is newly remastered. On October 1, 2010 - the 107th anniversary of Horowitz's birth - The Complete Original Jacket Collection won Gramophone's award for best CD reissue.

While most keyboard amplifiers produce monophonic sound, a small number of higher-priced, higher wattage keyboard combo amps have two speakers and two horns and can produce stereophonic sound. When a stereo keyboard amp is used with a stereo chorus effect or Leslie speaker simulator pedal, this can produce a spacious, full sound. Some keyboard amp combos have a stereo link output, which can be connected to a second keyboard amp combo to provide stereo sound onstage.

For example, in a stereophonic multiway sound system, the gain of the left-channel high-frequency amplifier may be affected by settings of master controls for (a) overall high-frequency level, (b) left- channel level, and (c) overall level of the entire system. In such systems, machine intelligence is required to manage cumulative settings effects that lead to overrange or underrange parameter values. The AES70 grouping mechanism provides a basis for such management, for one or many devices.

The theater remained racially segregated for African-American patrons until 1965. In 1964 the theater was temporarily closed down while Cinerama equipment was installed. A super-wide anamorphic movie screen was added to the auditorium and the stereophonic sound system was upgraded. Two Norelco Universal 70/35mm Motion Picture Projectors and a small restroom for the projectionist were installed in a newly built downstairs projection booth under the balcony that required the removal of two aisles and several seats.

In addition to Sounds of Our Times, Cook released Road Recordings, a "White Label" series, test and binaural recordings.Personal communication with production-line worker Cook Records Riverside CT 1955-1956 Cook is sometimes said to have intended only to show the quality of his recording and molding process at an audio fair, with the added feature of binaural (i.e., stereophonic) sound to get attention. The overwhelming response led him to produce and sell his equipment and to produce records.

Apart from relatively minor refinements and the important later addition of stereophonic sound capability, it has remained the standard format for vinyl albums. The term "album" was extended to other recording media such as 8-track tape, Compact audio cassette, compact disc, MiniDisc, and digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album.

Show Time is a Doris Day album, primarily consisting of well-known songs from Broadway musicals, released by Columbia Records on July 11, 1960, as a monaural LP album, catalog number CL-1470, and a stereophonic LP album, catalog number CS-8261. Axel Stordahl was the conductor and the cover photographer was Bob Willoughby. The album was combined with Day's 1963 album, Love Him, on a compact disc, issued on November 14, 2000 by Collectables Records.

In the Land of Hi-Fi was a Patti Page album issued by Mercury Records on its EmArcy label. Musical accompaniment was by Pete Rugolo and his Orchestra. The catalog number of the monaural version, first released in 1956, was MG-36074, and of the stereophonic version, released in 1958, it was SR-80000. It was later reissued as Mercury MG-20516 (mono) and SR-60192 (stereo), titled Patti Page With The Pete Rugolo All Stars.

A 70 mm film strip with a human hand for scale 70 mm film (or 65 mm film) is a wide high-resolution film gauge for motion picture photography, with negative area nearly 3.5 times larger than the standard 35 mm motion picture film format. As used in cameras, the film is wide. For projection, the original 65 mm film is printed on film. The additional 5 mm are for four magnetic strips holding six tracks of stereophonic sound.

Hirsch 1993, p. 189. In February 1964, Kaplan began placing ads in the trade papers Daily Variety, Weekly Variety, and The Hollywood Reporter to attract future exhibitor interest in the project. The studio intended the film to have an initial roadshow theatrical release in select large cities in theaters that could accommodate the 70-mm screenings and six-track stereophonic sound. The roadshow concept involved two showings a day with reserved seating and an intermission similar to Broadway musicals.

RCA Victor issued two different recordings with Lanza of the songs from the film. The first, in 1954, was a genuine film soundtrack recording in monophonic sound. Rather than reissuing the original soundtrack in stereophonic sound (which would have been possible since the movie was filmed using 4-track stereo, and stereo records were released starting in 1958), RCA Victor recorded and released an all-new album in 1959. The original Dorothy Donnelly lyrics were restored to this album.

A state-of-the-art, multi-track stereo sound system heightened the sense of realism. Prior to the first Cinerama production, movies were projected on a nearly-square flat screen and the sound was one- channel monophonic. As a result of Cinerama the film industry adopted the single-projector wide-screen format and stereophonic sound as the norm. At the peak of Cinerama's popularity, there were over 200 theaters in the world capable of projecting Cinerama films.

Stereophonic sound recording was becoming viable and it was decided to cut a stereo version of "Game" with a rock and roll arrangement. The single was a hit, reaching number one for six weeks beginning September 29, 1958, and would be the last song to hit number 1 on the R&B; Best Seller list. In November, the song hit No. 1 in the UK Singles Chart. The single helped Edwards revive his career for another two years.

The second-arriving sound had only a very small (albeit measurable) effect on the perceived location of the fused sound. They designated this phenomenon as the precedence effect, and noted that it explains why sound localization is possible in the typical situation where sounds reverberate from walls, furniture and the like, thus providing multiple, successive stimuli. They also noted that the precedence effect is an important factor in the perception of stereophonic sound. Wallach et al.

The recording was made without multitrack recording and without overdubs. The performance was carefully engineered and mixed live in stereophonic sound. During the performance, the analog disc cutting head engages the master lacquer from which sides of an LP record are ultimately derived and is not stopped until the entire side is complete. Such a direct- to-disc recording was often simultaneously recorded onto a two-track master tape for subsequent pressing in the traditional manner.

The original LP was released on 23 May 1970 in stereophonic format. There is an 8-second segment near the beginning of "Magic Bus" (leading into the lyric I don't care how much I pay) where the music is played backwards. Townshend stated that he did this deliberately to mark a part he had edited due to several mistakes. The 1995 and 2001 CD mixes edit this section differently and do not have the backward portion.

WCRB engineering worked with AT&T; to generate a specification involving matching both the phase and frequency response. This became the standard of the industry. Eventually, as stereo caught on across the country, these methods and specifications were used to install stereophonic leased lines to transmitters across the country, until they were made obsolete by the development of composite-signal studio-transmitter links. In the early days of radio, stations had full-time engineers on duty.

Fox eventually capitulated completely to third-party lenses. In Like Flint with James Coburn and Caprice with Doris Day, were Fox's final films in CinemaScope. Fox originally intended CinemaScope films to use magnetic stereo sound only, and although in certain areas, such as Los Angeles and New York City, the vast majority of theaters were equipped for 4-track magnetic sound (4-track magnetic sound achieving nearly 90 percent penetration of theaters in the greater Los Angeles area) the owners of many smaller theaters were dissatisfied with contractually having to install expensive three- or four- track magnetic stereo, and because of the technical nature of sound installations, drive-in theaters had trouble presenting stereophonic sound at all. Due to these conflicts, and because other studios were starting to release anamorphic prints with standard optical soundtracks, Fox revoked their policy of stereo-only presentations in 1957, and added a half-width optical soundtrack, while keeping the magnetic tracks for those theaters that were able to present their films with stereophonic sound.

Shortly afterwards, RCA Victor recorded the last two NBC Radio broadcast concerts by famed conductor Arturo Toscanini and the NBC Symphony Orchestra, on stereophonic magnetic tape, however they were never officially released, though they have long been available on pirated LPs and CDs. In the UK, Decca Records began recording sessions in stereo in mid-1954, and by that time even smaller labels in the U.S. such as Concertapes, Bel Canto and Westminster along with major labels such as RCA Victor began releasing stereophonic recordings on two-track prerecorded reel-to-reel magnetic tape, priced at twice or three times the cost of monaural recordings, which retailed for around $2.95 to $3.95 apiece for a standard monaural LP. Even two-track monaural tape which had to be flipped over halfway through and carried exactly the same information as the monaural LP - but without the crackles and pops - were being sold for $6.95."Tape Trade Group to Fix Standards", Billboard, July 10, 1954, p. 34. The additional cost of stereo sound must be weighed against the economy of the time.

The full ballet, as well as a concert suite, has been frequently performed and recorded. Efrem Kurtz, who conducted the world premiere, recorded some of the music for Columbia Records on 78-rpm discs. In 1947, Arthur Fiedler and the Boston Pops Orchestra recorded the ballet for RCA Victor; this high fidelity recording was later issued by RCA as its first 33-1/3 rpm LP in 1950. In 1954, Fiedler recorded the concert suite in stereo, his first stereophonic session for RCA.

Benichetti's documentary "Le Cousin Jules" was produced over the course of 5 years (from April 1968 to March 1973). The film shows the everyday life of Benichetti's cousin Jules Guiteaux and his wife Félicie as they work on their farm in the French countryside. The film (unseen for several decades) was considered a masterpiece when released, showing at a number of festivals and winning awards. It was noted for the Cinemascope work of cinematographer Pierre- William Glen and its stereophonic sound.

Island in the Sky premiered in Los Angeles on 3 September 1953, and went into general release two days later. The premiere apparently featured the use of stereophonic sound, as an intermission had to be inserted because of problems with it. Both Island in the Sky and The High and the Mighty were out of circulation for about 20 years due to legal issues. They were restored, returned to television in July 2005 and released as special edition DVDs that August.

Biography by Tony Wilds, Allmusic.com. Retrieved 22 May 2019 "Roger King Mozian", Space Age Pop. Retrieved 22 May 2019 Around 1960, he recorded several albums for MGM Records, highlighting Latin, Middle Eastern and mainstream rhythms, aimed primarily at the new market for stereophonic recordings, and later incorporated some rock and roll rhythms. His albums included Spectacular Brass, Spectacular Percussion, Spectacular Brass Goes Cha-Cha-Cha, Spectacular Percussion Goes Latin, The Colorful Music of Roger Mozian, and finally, in 1962, El Twist!!!.

In 2005, he co-founded Reboot Stereophonic, a non-profit record label dedicated to excavating lost treasures of Jewish-American music. Reboot has been featured in The New York Times and on National Public Radio. He is also a co-founder of the Idelsohn Society for Musical Preservation, which is named for Abraham Zevi Idelsohn, legendary Jewish musicologist and writer of the classic, "Hava Nagila." Idelsohn Society is committed to the belief that music creates conversations otherwise impossible in daily life.

Early FM broadcast signals did not have the stereo carrier (pilot) signal that carried the stereo left and right channels. After the stereo signal standard was established, a stereo multiplex circuit connected to or built into the receiver was used to decode the stereo signal. The first true FM Multiplex Stereo Receiver was sold by H.H. Scott in 1961 with introduction of the Model 350 tuner. In 1959, Harman Kardon marketed the Citation II, an early ultra wideband stereophonic tube amplifier.

Recorded concerts with various European orchestras, especially with La Scala Orchestra and the Philharmonia Orchestra, have been issued on other labels. His retirement coincided with the first commercial stereophonic recordings. Only his final two NBC concerts, on March 21 and April 4, 1954, were recorded in stereo. As his biographer Harvey Sachs observed, Toscanini's first recordings in 1920 took place at the precise midpoint of his conducting career (1886–1954), so they document Toscanini's conducting in the latter half of his career only.

The Haeco-CSG Generator. The Haeco-CSG or Holzer Audio Engineering-Compatible Stereo Generator system was an analog electronic device developed by Howard Holzer, Chief Engineer at A&M; Records in Hollywood, California. His company, Holzer Audio Engineering, developed the system in the 1960s during the years of transition from mono to stereophonic sound in popular music recording. The process was used primarily from about 1968 until 1970 but still exists on a significant number of recordings made during the time.

Before liberation, the film industry in Shanghai was monopolized by Hollywood. Besides, the Ever Shining Circuit Cinema mainly played the movies where were made by Film production companies of the United States. The first home-grown film which was shown at the Ever Shining Circuit Cinema, called The Legend of Taiping Heavenly Kingdom, was presented by the Xinhua Company. The Ever Shining Circuit Cinema was the first wide-screen cinema and the first cinema to have the stereophonic movies in Shanghai.

Smith was born in Manchester, Jamaica. His musical career began at the age of twelve, when he performed under the name Little Bimbo.Thompson, Dave (2002) "Reggae & Caribbean Music", Backbeat Books, During the 1980s he worked as a deejay on sound systems such as Conquering Lion, Soul Remembrance, Pepper's Disco, Stereophonic, and Destiny Outernational (where he first met Tony Rebel). He recorded his first track in 1985, but it would be two years later before his first single, "Problem Everywhere" was released.

This one is of the January 27, 1951 concert devoted to the Verdi Requiem, previously recorded and released in high-fidelity monophonic sound by RCA Victor. Recently a separate NBC tape of the same performance, using a different microphone in a different location, was acquired by Pristine Audio. Using modern digital technology the company constructed a stereophonic version of the performance from the two recordings which it made available in 2009. The company calls this an example of "accidental stereo".

Disney's distribution arm, Buena Vista Distribution, originally released Sleeping Beauty to theaters in both standard 35mm prints and large-format 70mm prints. The Super Technirama 70 prints were equipped with six-track stereophonic sound; some CinemaScope-compatible 35mm Technirama prints were released in four-track stereo, and others had monaural soundtracks. The film premiered in Los Angeles on January 29, 1959. On the initial run, Sleeping Beauty was paired with the short musical/documentary film Grand Canyon which won an Academy Award.

Ormandy and the Philadelphians returned to RCA Victor in 1968, after spending 23 years (1944–67) with Columbia Records. Though best-known for his many recordings for Columbia and Deutsche Grammophon, Leonard Bernstein made his first recordings for RCA Victor. In 1950, RCA Victor began issuing vinyl LPs (originally introduced by Columbia Records in 1948), because they were losing artists and sales due to the company's resistance to adopting the new format. In 1954, RCA Victor began experimenting with stereophonic recording.

The album was designed as a concept album. Albums from the time period tended to be little more than collections of singles, but Sinatra developed a distinction between songs intended as singles for radio airplay and for jukeboxes, and those songs he intended to package together in an album. His sessions intended for album release tend to be more serious, artistically. In the Wee Small Hours was recorded before stereophonic technology, but the fidelity of this monophonic album feels "warm" to modern ears.

62 From 1 March 1883, the station (then named Hayes) was served by District Railway services running between and Windsor (central). The service was discontinued as uneconomic on 30 September 1885. The film Trains at Hayes Station, showing trains passing through the station with stereophonic sound, was filmed from the roof of the defunct Aeolian pianola factory just north of the station. The factory had been purchased by HMV when the pianola company had collapsed owing to fraud and technological obsolescence.

WGRP relays programming to an FM translator in order to improve coverage, especially at night when the AM frequency broadcasts with only 2 watts. The FM frequency also gives improved high fidelity stereophonic sound. WGRP and WLOA, along with WMVL 101.7 FM in Linesville, PA, are owned by Vilkie Communications, and both feature an oldies format. Previously, WGRP and WLOA, along with former sister station WEXC were owned by Beacon Broadcasting, operated by Warren-based steel supply magnate Harold Glunt.

Sacha Baron Cohen's movie does not have a Đurđevdan river scene. In both soundtrack albums – Time of the Gypsies and Stereophonic Musical Listenings That Have Been Origin in Moving Film "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan" – it was credited to Goran Bregović, although he is not the author nor the singer of the song on these albums. However, he arranged the song. "A.I. Rising" (2018), a Serbian science fiction film, was originally entitled "Ederlezi Rising".

The album is one of Streisand's best-selling albums and is ranked as one of the best-selling Christmas albums of all time. The cover photograph of the album was taken on June 16, 1967, during the rehearsal for her concert, A Happening in Central Park. The album is also Streisand's last album to use Columbia's "Stereo 360 sound" banner, and the last to be issued originally in monaural and stereo. Most copies of the LP edition seen today are stereophonic.

According to Lewis, both he and Martin were against making the picture, as they found the original to be satisfactory. However, because the film was a Paramount property that producer Hal B. Wallis felt was one that could be successful in the comedy team's hands, he held the two to their contract for the film. Scared Stiff was filmed from June 2 through July 17, 1952. It was the first film of the team's available in 3-track, stereophonic sound.

Stokowski's performances on 9 and 11 April 1932 were recorded 'live' by RCA (see below). The company issued the 11 April performance on twenty-seven 78rpm sides, and this remained the only recording of the work in the catalogue until the advent of LP; it was eventually reissued on LP and CD. Bell Laboratories had been experimentally recording the Philadelphia Orchestra in high fidelity and stereophonic sound; RCA reportedly used the new technology to record the performances on 33 1/3 rpm masters.

What the actors are saying or singing comes blaring out of a dozen stereophonic loudspeakers in such volume that the spectator almost continually feels trapped in the middle of a cheering section. The worst thing about Goldwyn's Porgy, though, is its cinematic monotony. The film is not so much a motion picture as a photographed opera...Still, there are some good things about the show. Sammy Davis Jr., looking like an absurd Harlemization of Chico Marx, makes a wonderfully silly stinker out of Sportin' Life.

Glasgal Island is a small island which marks the southwestern extremity of the Donovan Islands in Vincennes Bay, off the coast of Antarctica. It was first mapped from air photos taken by U.S. Navy Operation Highjump, 1946–47, and observed in 1957 by Wilkes Station personnel under Carl R. Eklund. It was named by Eklund for Ralph Glasgal, an auroral scientist with the United States – International Geophysical Year wintering party of 1957 at Wilkes Station. In later life, Glasgal was involved in stereophonic and ambiophonic research.

Stephen W. Desper is an American audio engineer and record producer. He is best known for his work with the Beach Boys during the early 1970s and for inventing the Spatializer. The Spatializer is an effects unit which employs psychoacoustic techniques that emulate three-dimensional ambience via traditional stereophonic units, and can be heard in the Bonnie Raitt album Longing in Their Hearts (1994). Working with Brian Wilson and David Sandler, Desper was credited as a co-producer for the American Spring album Spring (1972).

Most 2-channel stereophonic microphone techniques are compatible with a 3-channel setup (LCR), as many of these techniques already contain a center microphone or microphone pair. Microphone techniques for LCR should, however, try to obtain greater channel separation to prevent conflicting phantom images between L/C and L/R for example. Specialised techniques have therefore been developed for 3-channel stereo. Surround microphone techniques largely depend on the setup used, therefore being biased towards the 5.1 surround setup, as this is the standard.

In 1954 Hafler founded Dynaco with Ed Laurent. Hafler was instrumental in bringing affordable, high-quality audio kits to hobbyists, making his name a household word in the US audio community for many years. In the 1970s Hafler promoted "passive pseudo-quadraphonics", an inexpensive method of recreating ambient sounds at the rear from ordinary stereophonic recordings. Known as the "Hafler hookup", this consisted of two similar additional rear speakers, connected in series (typically 8 + 8 or 16 ohms total) between the live feeds to the front speakers.

It supported AIF/C and QuickTime compression formats at the time. The sound quality was based on current compact disc (CD) standards: 16 bit frames, 44 kHz sampling, stereophonic (2 channels). Subsequent demos followed at BMG, Cablevision, Cox FiberNet, Continental Cable, Jones Intercable, Bell Atlantic, among others. Schalow's AMN was introduced to Apple Computer through the “I Changed the World” competition using an Apple IIci as the center of one controller-based network after which he received Honorable Mention and an Apple T-shirt.

In 2010, Alek Sandar produces another track for Balkan singer Reni and remixes the song Neblagodaren for Bulgarian singer Andrea. At the same time, Alek Sandar collaborates closely with German singer Oscar Loya, who gained international popularity representing Germany in the Eurovision Song Contest in 2009. He produces 10 songs for Oscar's solo album Beast. Two years later, Learn Something New, one of these tracks, is released again along with a Remix bundle by the L.A.-based US music label Citrusonic Stereophonic in January 2013.

1967: Chickens, first stereophonic feature production in Germany 1968: Catch as catch can (professional wrestling) 1970: 08h15, Operation theatre 3, hip replacement 1971: Hyenas, Plea for a despised predator 1973: Bells in Europe Range of broadcasts in fifteen languages as trendsetters, radio bestsellers and finally, classics of the „acoustical emancipation“. 1974 – 1994 Sender Freies Berlin – SFB, Berlin Head of the Feature Department, Radio Teaching activity of feature department in Africa, Asia, USA, South America and Europe until 1994. The Department Radio won 70 awards.

After the introduction of the softer vinyl records, -rpm LPs (long-playing records) and 45-rpm "single" or two-song records, and EPs (extended-play recordings), the common name became "record player" or "turntable". Often the home record player was part of a system that included a radio (radiogram) and, later, might also play audiotape cassettes. From about 1960, such a system began to be described as a "hi-fi" (high-fidelity, monophonic) or a "stereo" (most systems being stereophonic by the mid-1960s).

The album was released in the LP format on Capitol on January 30, 1967, in both monaural and stereophonic editions (catalogue numbers T 2666 and ST 2666, respectively). CD cover (1995). In March 1975, Capitol reissued the album under the name The Stone Poneys Featuring Linda Ronstadt (catalogue number ST-11383), following the multi-platinum success Linda Ronstadt had in 1974-75 with her #1 album Heart Like a Wheel. Though the original release did not chart, this reissue reached #172 on the Billboard album chart.

The Orchestra's first recordings were made for the Victor Talking Machine Company in Camden, New Jersey, in 1917, when Leopold Stokowski conducted performances of two of Brahms's Hungarian Dances. The historic first electrical recordings were also made by Victor in Camden, in April 1925, beginning with Saint-Saëns' Danse macabre. Later, in 1926, Victor began recording the Orchestra in the Academy of Music. Stokowski led the ensemble in experimental long-playing, high-fidelity, and even stereophonic sessions in the early 1930s for RCA Victor and Bell Laboratories.

Label and sleeve from Audio Fidelity Records' second stereo demonstration record, ca. 1958. In November 1957, the small Audio Fidelity Records label released the first mass- produced stereophonic disc. Sidney Frey, founder and president, had Westrex engineers, owners of one of the two rival stereo disk-cutting systems, cut a disk for release before any of the major record labels could do so. Side 1 featured the Dukes of Dixieland, and Side 2 featured railroad and other sound effects designed to engage and envelop the listener.

The album's artwork features a headshot of Damon McMahon, framed by a white border. The photograph and art direction are by Tuomas Korpijaakko, who worked on the photography and art direction of previous Amen Dunes albums. The artist name and album title are located in the upper right-hand corner along with the Sacred Bones Records logo and catalog number, typical for Sacred Bones releases. The upper left-hand corner includes a label stating "in Stereo" to indicate the album is in stereophonic sound.

The British Decca recording engineers Arthur Haddy, Roy Wallace and Kenneth Wilkinson developed in 1954 the famous Decca tree, a stereo microphone recording system for big orchestras. Decca started the first actual stereophonic recording 13–28 May 1954, at Victoria Hall, Geneva, the first European record company to do so; only two months before, RCA Victor had begun the first actual stereophonic recording in the U.S., 6–8 March 1954. Decca archives show that Ernest Ansermet and the Orchestre de la Suisse Romande recorded Antar by Nikolai Rimsky-Korsakov (Decca's official first actual stereo recording); Stenka Razin by Alexander Glazunov; Tamara by Mily Balakirev; Anatoly Liadov's Baba-Yaga, Eight Russian Folksongs, Kikimora; and Le Martyre de saint Sébastien by Claude Debussy. These performances were initially issued only in monaural sound; and in 1959, the stereo version of Le Martyre de saint Sébastien was issued only in the U.S. as London OSA 1104 (OS 25108); and stereo versions of others were finally issued from the late 1960s to the beginning of the 1970s as part of the ""Decca Eclipse"" series (in the UK) or "Stereo Treasury" series (in the U.S. on the London label).

The black marble base on the walls of the esplanade, fashioned after the Hall of Mirrors in the Palace of Versailles in France, has been polished, as has the elegant red, pink and gray scagliola above the base. C.W. and George Rapp designed the Rialto Square Theatre in 1924, and the theatre opened May 24, 1926, featuring the production "The Evolution of Joliet". The first talking picture at the Rialto was shown on October 9, 1928, with Lights of New York. In 1953 stereophonic sound was installed in the theatre.

Although too early for high fidelity, the performance was recorded using multi-tracks and was the first use of stereophonic sound in a film. It is the only part of the film for which Stokowski conducted a studio orchestra, rather than the Philadelphia Orchestra. In terms of the storyline of the film segment, the sorcerer's final anger with his apprentice which appears in Fantasia does not appear in Goethe's source poem, Der Zauberlehrling. The popularity of the musical piece in Fantasia led to it being used again, in its original form, in Fantasia 2000.

While the first few episodes contained elements of a standard police procedural, the producers soon abandoned them in favor of a more distinctive style. Influenced by an Art Deco revival, no "earth tones" were allowed to be used in the production by executive producer Michael Mann. A director of Miami Vice, Bobby Roth, recalled: Miami Vice was one of the first American network television programs to be broadcast in stereophonic sound. Although season 1 was initially broadcast in mono, it was mixed in 4 channel stereo for its entire run.

Garland and Rooney later sang "I Wish I Were in Love Again" from the Broadway version of the show in the Rodgers and Hart biopic Words and Music (1948). Garland also sang "Johnny One Note" in the same picture. The film, as well as the musical, included the song "I'm Just Wild About Harry", which was written in 1921 for the Broadway show Shuffle Along, with lyrics by Noble Sissle and music by Eubie Blake. Musical numbers were recorded in stereophonic sound, but released to theaters with conventional monaural sound.

When a Santa Claus from the Elks Lodge lifted one young elf into the audience for the last verse, the smell of bourbon whiskey caused her to ponder, "I wasn't just sure where the night's polka would land us. Maybe Oz?" After an extensive remodel, CinemaScope equipment was introduced at the "New" Beacham Theatre in 1954 with the addition of stereophonic sound, new projection lenses, and a wider screen. CinemaScope had its debut at the Beacham on January 7, 1954, for a two-week showing of the film The Robe.

During the 1960s through the 1980s, it was Angel's low-price label; recordings that had originally been released on the Angel label were re-released at a bargain price on the Seraphim label. The very first release was of stereophonic recordings by Sir Thomas Beecham and the Royal Philharmonic Orchestra, including several pieces previously unreleased. The label has specialized in historic recordings, including some originally released on 78-rpm discs. In 1967, Seraphim issued some of the 1937–39 recordings by Arturo Toscanini and the BBC Symphony Orchestra.

Stereophonic sound provided a partial solution to the problem of creating the illusion of live orchestral performers by creating a phantom middle channel when the listener sits exactly in the middle of the two front loudspeakers. When the listener moves to the side, however, this phantom channel disappears or is greatly reduced. An attempt to provide for the reproduction of the reverberation was tried in the 1970s through quadraphonic sound. Consumers did not want to pay the additional costs and space required for the marginal improvements in realism.

As recording technology improved, from 78rpm discs, to LPs, and stereophonic recordings, Rubinstein rerecorded much of his repertoire. Thus, there are often three or more recordings of Rubinstein playing the same works. In 1985, RCA began releasing some of his recordings on Compact Disc. Most of his monaural recordings were not issued on CD until 1999, when RCA issued a 94 CD boxed set containing his complete recordings with that company (along with a recording of Brahms’s Piano Concerto No. 1 which was originally released by Decca/London).

The West Magazine reporting WIN Television as the second network in regional Western Australia. During this period, WIN expanded through the purchase of stations in Victoria, Queensland, and New South Wales. In 1984, WIN became the first regional television station to transmit in stereophonic sound. Close links between WIN Television and the Nine Network, ensured it the Nine Network affiliation for southern New South Wales when aggregation took place in 1989 thus the logo of the station changed to that of its partner network with the matching nine dots and similar ident packages.

The Grand Opening Ceremony, performed by Bailie Edward took place on Thursday, 30 March in 1939 at 2.30pm, and the feature film of the opening programme was Snow White and the Seven Dwarfs. The George was the first cinema in the east of Scotland to use the four-track stereophonic sound with a wide screen. The system required 32 loud-speakers in the cinema, 16 of which were behind the screen. The George Cinema was designed by Thomas Bowhill Gibson, also responsible for the Dominion Cinema in Morningside, Edinburgh.

Perhaps as a result Cochereau played much more slowly than normal, and the recording was savagely attacked by the critics. Charlin briefly collaborated with Michel Garcin in developing Erato Records, then after breaking with his partner in 1962 created his Centre d'Enregistrement des Champs Elysees (CECE) label with Carl de Nys. In 1963–64 Charlin patented the Tete Charlin, a dummy head for commercial stereophonic records with two high-quality microphones from the Schoeps company. The term "dummy head" refers to the device's vague resemblance to a human head.

House of Wax was the first color 3-D feature film from a major American studio and premiered two days after the Columbia Pictures film Man in the Dark, the first major-studio black-and-white 3-D feature. It was the first 3-D movie with stereophonic sound to be presented in a regular theater. In 1971, it was widely re-released to theaters in 3-D with a full advertising campaign. Newly struck prints of the film in Chris Condon's single-strip StereoVision 3-D format were used.

The cinema was closed for repairs between 1971 and 1973, when it was adapted for 70mm films and stereophonic sound. The cinema opened again on 22 November 1973 with a ceremony that included the screening of the movie The Siberian Woman (Сибирячка Sibiřanka [online].) by director Aleksei Saltykov to invited guests; regular screenings for the public began on the following day.Novák, s. 400–401. In the 1980s, the Moskva cinema was one of the best in the city, together with other cinemas in the city centre such as the Družba, Praha, Jalta, and Úderka cinemas.

Atlantic Records took out a full page advertisement in the April 6, 1968 issue of Billboard magazine to promote its adoption of the technique, calling it "CSG Stereo." Many A&M; Records LP releases during the period including popular titles by Sérgio Mendes and Herb Alpert were released with this audio process starting in September 1968. Other record labels soon followed suit, and an estimated 10% of all stereophonic albums released during the late 1960s and early 1970s employed the system. Other labels known to have used the system include Warner Bros.

However, this was a cumbersome approach that required listeners to use two receivers; the lone program to be nationally distributed in stereo using the two-device approach was The Lawrence Welk Show, which used a radio and a television under the assumption that it was more likely that a home viewer would have each device than two radios in the same room."A Television First! Welk Goes Stereophonic" (advertisement), Los Angeles Times, September 10, 1958, p. A-7."Dealers: Lawrence Welk Leads in Stereo!" (advertisement), Billboard, October 13, 1958, p.

Since videos could have stereo soundtracks, BBC Video produced stereophonic versions of many programmes that had been broadcast in mono. These included The Hitch Hiker's Guide to the Galaxy (although release was delayed for lack of an Equity agreement) and the wedding of Charles, Prince of Wales, and Lady Diana Spencer. By 1982, an agreement had been reached with the Musicians' Union and this led to some popular music releases (including compilations by John Martyn and Tom Robinson). The label grew significantly from £13 million turnover in 1989 to nearly £39 million in 1994.

Latin for Lovers was a Doris Day album, mostly composed of songs originating in Latin America, released by Columbia Records on March 22, 1965 as a monophonic LP (catalog number CL-2310) and a stereophonic album (catalog number CS-9110). Although "Fly Me to the Moon" was not of Latin-American origin, it was an early song adapted to the bossa nova dance then becoming popular, and so associated at the time with Latin America. A Columbia 45 r.p.m. single. #4-43278, was released to coincide with the album.

The same forces recorded it in stereophonic sound for United Artists Records, which released it on LP and reel-to-reel tape. The recording had a limited release on CD. Alfred Heller, a friend and associate of Villa Lobos, made a modern digital recording of the complete uncut cantata (74 minutes) with soprano Renee Fleming, along with the Moscow Radio Symphony Orchestra. He wrote on the Amazon website that Villa-Lobos had completed work on the full cantata in December 1958. The United Artists recording used about 46 minutes of the cantata.

Its New York run lasted three days, the Toronto run was shown once, and the Los Angeles engagement was cancelled. One development that diminished the novelty of the modern roadshow release was that, beginning with Star Wars (1977), stereophonic sound began to be used more and more in films, even films that were not really big-budget spectaculars. Most films, however, were at that time still released only with mono sound. Jaws, for example, made a mere two years before Star Wars, was originally released in this format.

Then the mixture was recorded on four-track tape, then masterized to two channels and turned to stereophonic vinyl records. The sound engineer, in close collaboration with orchestra directors and arrangers, controlled the volume of certain musical instruments or orchestral groups to enhance their presence in the recording, or caused them to move between the left and right channels. It was also processed with electronic reverberation effects, microphone offset etc. The sound engineers Arthur Lilley and Arthur Bannister made most of the series' recordings, but was Bannister who used sound manipulation with more exaggeration.

The Festival of Britain Office appointed Wells Coates to design a building on the South Bank where 35mm film, stereoscopic (3-D) and stereophonic film and large-screen television broadcasts could be shown. He created a grey, oblong building, constructed from light steel and soundproofed, in what Today's Cinema magazine at the time called, "a fly-away linear design [with a] gay façade and bold modern stare". It could seat 410 people, 252 in the stalls and 158 in the balcony. The foyer doubled as a television studio.

But after the Second World War he began markedly increasing his European activity. When he became music director of the Chicago Symphony Orchestra in 1953 he had an international reputation. By common consent, the ten years that he spent in Chicago mark the pinnacle of his career, and are best-remembered today through the many recordings he made in Chicago's Orchestra Hall for RCA Victor from 1954 to 1963. The first of these—of Ein Heldenleben by Richard Strauss—occurred on March 6, 1954 and was among RCA's first to use stereophonic sound.

Playwright John Osborne performed at the theatre as a young actor, and stars including Kenneth Williams, Diana Dors and John Le Mesurier performed there also early in their careers. Sylvia Rayman's groundbreaking "all-women play" Women of Twilight (1951) was premiered at Hayes's Regent Theatre. (3.) The Corinth Cinema opened in 1933 at 1040 Uxbridge Road. Renamed The Essoldo in 1949, it was the first cinema in the area to be equipped with CinemaScope and stereophonic sound. After purchasing an alternative building nearby in 1957 (infra), the Essoldo chain closed this cinema in 1961.

The work premiered on Broadway at the Theatre Masque on 21 October 1935. The production starred Alexander Gauge (Wilfred Kirby), Edward Irwin (Dr Kirby), Edgar Norfolk (Charles Appleby), Wilfred Seagram (Geoffrey Farrant), Louise Smith (Lillian Kirby), Ruth Vivian (Sarah), and Estelle Winwood (Stella Kirby). In 1974, the National Theatre's production at The Old Vic starred Joan Plowright as Stella Kirby, Michael Jayston as Charles Appleby and Geoffrey Palmer as Geoffrey Farrant. The production was adapted for BBC Radio 4 that same year, described as a "stereophonic radio version".

By the 1960s these units had become smaller, and had developed to include stereophonic reproduction. The necessity of having suitable separation of the speakers meant that the single cabinet designs evolved into three-box designs, and the main box could become much smaller. By the beginning of the 1970s systems were starting to be made of plastic and other materials rather than wood. The 1970s saw the inclusion of a deck for playing compact cassettes as well as a record player and receiver, and the term music centre came into common use.

Monaural sound has largely been replaced by stereo sound in most entertainment applications, but remains the standard for radiotelephone communications, telephone networks, and audio induction loops for use with hearing aids. FM radio stations broadcast in stereo, while most AM radio stations broadcast in mono. (Although an AM stereo broadcast standard exists, few AM stations are equipped to use it.) A few FM stations—notably talk-radio stations—choose to broadcast in monaural because of the slight advantage in signal strength and bandwidth the standard affords over a stereophonic signal of the same power.

Jenner and Waters arranged for Barrett to see a psychiatrist – a meeting he did not attend. He was sent to relax in the sun on the Spanish island of Formentera with Waters and Sam Hutt (a doctor well- established in the underground music scene), but this led to no visible improvement.Mason 2011, pp. 95–105Blake 2008, p. 94Schaffner 2005, pp. 88–90Schaffner 2005, pp. 91–92 The original UK LP was released on 4 August 1967 in both monaural and stereophonic mixes. It reached number six on the UK charts.

In February 1984, the video album Duran Duran won a Grammy Award for Best Long Form Music Video, while the Video 45 won the Best Short Form award. This collection was originally released with stereophonic sound on LaserDisc (the original optical disc format) and Capacitance Electronic Disc formats, as well as in the Beta Hi-Fi and VHS Hi- Fi videotape formats. It has yet to be released on DVD, although Sing Blue Silver, Duran Duran's 1984 tour documentary, and Arena, a 1985 longform music video/concert film, both have been.

One of the more remarkable series of recordings took place at the Vienna State Opera House, also known as Wiener Staatsoper, in 1944, when the German composer Richard Strauss recorded many of his famous symphonic poems, including Don Juan, Till Eulenspiegel, and Also sprach Zarathustra, with the Vienna Philharmonic Orchestra. AEG engineers made rapid strides in perfecting the system and had practical stereo recorders by 1943. Until 1945, about 250 stereophonic tape recordings were known to exist, including some Richard Strauss and Furtwängler. Only three of those recordings are known to still exist.

The Audio Engineering Society has issued all these recordings on CD. (Varèse Sarabande had released the Beethoven Concerto on LP, and it has been reissued on CD several times since). Other early German stereophonic tapes are believed to have been destroyed in bombings. Not until Ampex introduced the first commercial two- track tape recorders in the late 1940s did stereo tape recording become commercially feasible. However, despite the availability of multitrack tape, stereo did not become the standard system for commercial music recording for some years, and remained a specialist market during the 1950s.

For many of the plays he directed, he would adapt the archaic English for modern audiences and he also adapted existing English translations of foreign works. Many of the productions had incidental music written by the composer Stephen Dodgson, with whom he had a long and genial collaboration. At the 1965 Prix Italia, Raikes won the RAI Prize for literary or dramatic programmes with The Anger of Achilles by Robert Graves and the Prix Italia for stereophonic musical and dramatic programmes with A. R. Gurney's The Foundling (music by Humphrey Searle).RAI (2012).

Alan Dower Blumlein (29 June 1903 – 7 June 1942) was an English electronics engineer, notable for his many inventions in telecommunications, sound recording, stereophonic sound, television and radar. He received 128 patents and was considered as one of the most significant engineers and inventors of his time. He died during World War II on 7 June 1942, aged 38, during the secret trial of an H2S airborne radar system then under development, when all on board the Halifax bomber in which he was flying were killed when it crashed at Welsh Bicknor in Herefordshire.

Season's Greetings from Perry Como, originally released in 1959, was Perry Como's sixth RCA Victor 12-inch long-play album and the fourth recorded in stereophonic sound, as well as his first major full-length Christmas album. The album is warm and relaxed, featuring lush renditions of "Winter Wonderland", "The Christmas Song", "O Holy Night" and seven other Christmas tunes (including a re-recording of Como's own 1954 hit, "Home for the Holidays"). Como is accompanied on the tracks by Mitchell Ayres' orchestra and the Ray Charles Singers.

Gore's iconoclastic style surfaced in a number of other ways. He was the first host in America to broadcast an unedited version of Night of the Living Dead. He also began transmitting his own show in stereophonic sound a week before his station officially made the announcement, making Creature Feature Washington's first stereo broadcast. After a five-year hiatus from the air, Count Gore returned to WDCA 20 in 1984 and a second wave of popularity kept the show a local fixture until new owners canceled all local programing in 1987.

The Lecture Series Committee (LSC) organizes weekly screenings of popular films as well as lectures by prominent speakers. As one of the few Institute-wide gatherings on a weekly basis over the years, LSC movie screenings have developed and retained a few quirky traditions which sometimes befuddle outsiders. One unspoken tradition relates to the 1950s style introductory film clips that announce "coming attractions" movie trailers. When stereophonic sound was a new development in movies, the movie trailers would be preceded by a clip announcing, "Coming Next Week", followed by "In Stereo".

Decca was an early adopter of the LP album, which put it ahead of its direct competitor EMI. The company was also an early exponent of stereophonic recording. Wilkinson would make the move to stereo recordings for Decca in April 1958, but until then he remained the engineer with the monaural recording team (for a time there were parallel recording teams) because mono was considered the more important release. In the early 1950s, together with Roy Wallace (1927–2007) and Haddy, he developed the Decca tree spaced microphone array used for stereo orchestral recordings.

Murphy, p. 40 Lee recorded everything using Digital Audio Workstation Pro Tools and treated the parts as individual stereo files in Logic. The drum and guitar tracks were processed using computers.Murphy, p. 38 Much of the synthesiser-sounding parts of the album were generated by Russell Lissack's lead guitar following his extensive use of pedal effects. Lee added the live string, synth, drum machine, sample, and ambient noise tracks to create an expansive, hyper-stereophonic final product. After finishing the instrumental album, Bloc Party left Ireland to continue touring.

For example, holographic displays do not have such limitations. Similar to how in sound reproduction it is not possible to recreate a full 3-dimensional sound field merely with two stereophonic speakers, it is likewise an overstatement of capability to refer to dual 2D images as being "3D". The accurate term "stereoscopic" is more cumbersome than the common misnomer "3D", which has been entrenched after many decades of unquestioned misuse. It is to note that although most stereoscopic displays do not qualify as real 3D display, all real 3D display are also stereoscopic displays because they meet the lower criteria as well.

The Interessengemeinschaft für Rundfunkschutzrechte GmbH Schutzrechtsverwertung & Co. KG. ("IGR GmbH") is a patent holding company established by leading German radio and TV set manufacturers. In the early eighties the IGR GmbH got widely known for trying to restrict access of Japanese electronics companies to the German TV set market by way of patent licenses. At that time, a standard for providing stereophonic TV sound had been developed by the Institut für Rundfunktechnik. In 1980, the IGR GmbH acquired the then pending patent applications related to this standard for 150.000 DM (about 75.000 €) and granted patent licenses to its members only.

Rather than having a local oscillator, the 19 kHz pilot tone provides an in-phase reference signal used to reconstruct the missing carrier wave from the 38 kHz signal. For AM broadcasting, different analog (AM stereo) and digital (HD Radio) methods are used to produce stereophonic audio. Modulated subcarriers of the type used in FM broadcasting are impractical for AM broadcast due to the relatively narrow signal bandwidth allocated for a given AM signal. On standard AM broadcast radios, the entire 9 kHz to 10 kHz allocated bandwidth of the AM signal may be used for audio.

In 1960, Billboard began concurrently publishing album charts which ranked sales of older or mid-priced titles. These Essential Inventory charts were divided by stereo and mono albums, and featured titles that had already appeared on the main stereo and mono album charts. Mono albums were moved to the Essential Inventory—Mono chart (25 positions) after spending 40 weeks on the Mono Action Chart, and stereo albums were moved to the Essential Inventory—Stereo chart (20 positions) after 20 weeks on the Stereo Action Chart. In January 1961, the Action Charts became Action Albums—Monophonic (24 positions), and Action Albums—Stereophonic (15 positions).

The N. Eldon Tanner Building, home of the Marriott School of Management According to the National Science Foundation, BYU spent $40.7 million on research and development in 2018. Scientists associated with BYU have created some notable inventions. Philo T. Farnsworth, inventor and pioneer of the electronic television, began college at BYU, and later returned to do fusion research, receiving an honorary degree from the university in 1967. Alumnus Harvey Fletcher, inventor of stereophonic sound, went on to carry out the now famous oil-drop experiment with Robert Millikan, and was later Founding Dean of the BYU College of Engineering.

The Waltz Queen was an LP album by Patti Page, released by Mercury Records in 1958 under its Wing Records subsidiary, catalog numbers MGW-12121 (monaural) and SRW-16121 (stereophonic). It should not be confused with an album of the same name released by Mercury in 1955 under catalog numbers MG-20049 and SR-60049. It was issued in two versions, one with 12 tracks and one with only 10. The album was reissued with a similar cover as simply Patti Page because of the confusion in using the same title as a popular full-priced release by the label's top star.

Because Sony had an existing high-resolution audio format, SACD, in the marketplace which directly competes with DVD-Audio (see next section), Sony Music, as a general rule, only provided 16-bit, 48 kHz sampled LPCM stereophonic (and sometimes Dolby Digital Surround) sound on the DVD side of their DualDiscs. The sound was compatible with any DVD player; however, it does not provide the higher fidelity and resolution of 24-bit, high sample-rate DVD-Audio. In addition, several SonyBMG titles whose regular editions include copy protection programs (such as XCP and SunnComm) did not feature the software on the DualDisc versions.

The Clip-On made provision for very fine adjustment of the spacing of the cartridges: this level of adjustment was needed, because only a very slight misalignment of the two cartridge styluses would produce a phase difference between the two channels. The fact that he was able to design and sell such a device at a reasonable price testified to Emory Cook's brilliance as an innovative engineer, who is now honored in the Audio Engineering Society Hall of Fame. It's also a testament to the passion and determination of early devotees of stereophonic sound that they would buy and deploy such a system.

The station had to move to a new frequency to increase its power; the move and the power increase took place in September 2001,Decision CRTC 2001-26, Licence amendment for CKIA-FM Quebec, CRTC, January 25, 2001 and the station then began stereophonic transmissions. The 96.1 MHz frequency is now used by CBM-FM-2, a CBC Radio 2 station which is actually a rebroadcaster of Montreal station CBM-FM. In 2016, the station premiered TransRéalité, the first radio program in Quebec devoted to transgender issues."1ère émission radio à Québec sur la réalité des personnes transgenres".

215; and Greenfield et al, pp. 324–325 Of recordings from the stereophonic LP era, The Penguin Guide to Recorded Classical Music singled out those by the Chicago Symphony Orchestra under Fritz Reiner, and the Berlin Philharmonic under Karajan.Greenfield, et al, pp. 324–325 Of the many recordings available, a comparative survey for Classic FM (2018) recommended a short list of five, those by the Orchestre National de France and Jean Martinon; the Cleveland Orchestra and Boulez; the Berlin Philharmonic and Simon Rattle; the Seoul Philharmonic and Myung-Whun Chung, and – its top recommendation – the Royal Concertgebouw Orchestra conducted by Bernard Haitink.

The LP (from "long playing" or "long play") is an analog sound storage medium, a phonograph record format characterized by a speed of rpm, a 12- or 10-inch (30- or 25-cm) diameter, and use of the "microgroove" groove specification. Introduced by Columbia in 1948, it was soon adopted as a new standard by the entire record industry. Apart from a few relatively minor refinements and the important later addition of stereophonic sound, it remained the standard format for record albums until its gradual replacement from the 1980s to the early 21st century, first by compact discs and then by streaming media.

Panasonic Stereo Cassette Player RQ-JA63 The first truly personal cassette player, the Sony Walkman, was introduced in 1979 and sold very well. It was much smaller than an 8-track player or the earlier cassette recorders, and was listened to with stereophonic headphones, unlike previous equipment which used small loudspeakers. Unlike small loudspeakers, headphones were capable of very good sound quality. All previous compact cassette devices could record as well as play back; Walkmans and similar devices often had no recording facility, but took advantage of the pre-recorded cassettes that had become widely available.

In 1953, EMI's Columbia label released a near- complete versionIt omits "Das ist der Zauber der Stillen Häuslichkeit": see O'Connor, Patrick. "A Viennese Whirl", Gramophone, October 2005, p. 50 produced by Walter Legge, conducted by Otto Ackermann, with Elisabeth Schwarzkopf as Hanna, Erich Kunz as Danilo, Nicolai Gedda as Camille and Emmy Loose as Valencienne. It was sung in German, with abridged spoken dialogue. Loose sang Valencienne again for Decca in the first stereophonic recording, produced in 1958 by John Culshaw, with Hilde Gueden, Per Grundén and Waldemar Kmentt in the other main roles, and the Vienna Philharmonic conducted by Robert Stolz.

This gave it longer projection life but also improved registration. One of its primary applications was usage in Technicolor's dye imbibition printing (dye transfer). The DH perf never had broad uptake, and Kodak's introduction of monopack Eastmancolor film in the 1950s reduced the demand for dye transfer, although the DH perf persists in special application intermediate films to this day. ;CS perfs: In 1953, the introduction of CinemaScope by Fox Studios required the creation of a different shape of perforation which was nearly square and smaller to provide space for four magnetic sound stripes for stereophonic and surround sound.

Since 1986, parabolic loudspeakers have been designed to give museum exhibits a very focused sound field so that each exhibit can send sound to just one or two museum-goers without having too much interference and an increase in background noise. A typical installation involves one parabolic dish hanging above the area where people would be standing—sound is directed straight down. Some designs use a dual-focus dish to expand the sound field slightly beyond an ideal plane wave, while others incorporate dual drivers and amplifiers in a hemispheric dome to achieve a degree of stereophonic sound at the listener.Brown Innovations.

He commented that he was "running up and down the road between Boston and New York and I said why not get a band together in New York, too?" For one concert, Byard used the two ensembles together, on either side of a stage at the New England Conservatory. He referred to it as his "Stereophonic Ensemble", because of the effects that could be created by having the bands playing together but separated spatially. The band played a diverse range of material, including compositions by Stevie Wonder in 1978,Bourne, Kay (December 7, 1978) "Stevie Wonder Writes New American Classics".

RCA Victor originally created the Camden label to reissue older 78 RPM Red Seal classical recordings on LP records. In the mid 1950s, RCA Camden began releasing some rhythm & blues and, later, pop, country and rock and roll recordings. For example, Camden issued a 1956 LP of Little Richard's very first recordings made for RCA Victor in 1951 and '52, padded with four tracks by Buck Ram and his Rock n' Ram Orchestra. In 1958, Camden released some albums in new stereophonic sound and subsequently issued popular stereo recordings by the Oslo Philharmonic Orchestra, The Living Strings and Living Voices.

Many early reissues on the RCA Victrola label included recordings from the historic RCA Victor "Living Stereo" series first released in 1958, using triple channel stereophonic tapes recorded as early as 1954. There were also some first stereo issues of recordings that had previously been available only in monophonic versions. For several years, Victrola released both stereo and mono versions of many albums, many of them in "reprocessed" (fake) stereo.RCA Victrola liner notes From the liner notes of several RCA Victrola releases from the early 1960s: A similar statement had previously appeared on several releases from the budget RCA Camden label.

Beginning with a cyberpunk style, the team transitioned to the techno genre due to the "uniqueness" of Tetrisphere as a puzzle game. Voss explained that Tetrisphere features only stereophonic sound because "[...] for a game where the action is all around you, it could enhance gameplay and the immersive experience." Voss was also able to simulate surround sound. The composer frequently used samples during production, specifically in the tracks "Extol", "Martist", and "Hallucid"; for instance, "Extol" uses a chorus of Balinese singers from a stock sample CD. The song titles were chosen as they would be if released on an album.

Panning is the distribution of a sound signal (either monaural or stereophonic pairs) into a new stereo or multi-channel sound field determined by a pan control setting. A typical physical recording console has a pan control for each incoming source channel. A pan control or pan pot (short for "panning potentiometer") is an analog control with a position indicator which can range continuously from the 7 o'clock when fully left to the 5 o'clock position fully right. Audio mixing software replaces pan pots with on-screen virtual knobs or sliders which function like their physical counterparts.

Patent invention entitled "Stereophonic Production System for Personal Wear" The Stereobelt was a personal stereo player devised by Andreas Pavel, a former television executive and book editor. Pavel filed a patent of invention for his portable music player in Italy in 1977, and adopted the same protective steps in Germany, United Kingdom, United States, and Japan. He sought royalty fees and later commenced legal proceedings against Sony Corporation after the Walkman released commercially in 1979, believing the electronics manufacturer had infringed his intellectual property. Judges ruled against him, revoking the patent, stating his concept was "not significantly inventive".

Before DAB+ was introduced, DAB's inefficient compression led in some cases to "downgrading" stations from stereophonic to monaural, in order to include more channels in the limited 1000 kbit/s bandwidth. Digital radio, such as DAB, DAB+ and FM HD radio currently often have smaller coverage of markets as compared to analog FM, radios are more expensive, and reception inside vehicles and buildings may be poor, depending on the frequencies used. HD Radio shares most of these same flaws (see criticisms below). On the other hand, digital radio allows for more stations and less susceptibility for disturbances in the signal.

A sphere is not equal to the form of the cutting stylus and by the time diamond needles came to the market, a whole discussion was started on the effect of circular forms moving through a non-circular cut groove. It can be easily shown that vertical, so called "pinching" movements were a result and when stereophonic LPs were introduced, unwanted vertical modulation was recognized as a problem. Also, the needle started its life touching the groove on a very small surface, giving extra wear on the walls. Cross-section diagram comparing two common types of stylus.

He worked with arranger and composer Ronald "Ronnie" Binge, who developed the "cascading strings" effect (also known as the "Mantovani sound")."Sailing By – The Ronald Binge Story" (Mike Carey, 2000) His records were regularly used for demonstration purposes in stores selling hi-fi stereo equipment, as they were produced and arranged for stereo reproduction. He became the first person to sell a million stereophonic records."Mantovani, Whose String Orchestras Sold Millions of Record Albums Dead at 74" (31 Mar 1980) The Boston Globe In 1952, Binge ceased to arrange for Mantovani but the distinctive sound of the orchestra remained.

At the premiere of Pierre Schaeffer's Symphonie pour un homme seul in 1951, a system that was designed for the spatial control of sound was tested. It was called a "relief desk" (pupitre de relief, but also referred to as pupitre d'espace or potentiomètre d'espace) and was intended to control the dynamic level of music played from several shellac players. This created a stereophonic effect by controlling the positioning of a monophonic sound source . One of five tracks, provided by a purpose-built tape machine, was controlled by the performer and the other four tracks each supplied a single loudspeaker.

As a composer, Barraud wrote opera music, ballet music, orchestral music, chamber music, choral music and other vocal music. Paul Paray and the Detroit Symphony Orchestra recorded Barraud's orchestral work Offrande à une ombre in 1957 for Mercury Records. This wartime memorial, commemorating the death during combat of Maurice Jaubert at the age of 40, was initially released on LP in monophonic sound; the stereophonic version was issued on CD by Philips Records. A work listed as Symphony #1 for full orchestra (not just strings) was recorded on French Columbia FCX 597 (LP) performed by Georges Tzipine leading the ORTF.

Marks (2009), pp. 37–38 After Cable read the manufacturer name of a gramophone, "Falcon Stereophonic", he told Kelly and the band agreed to change their name to "the Stereophonics".Marks (2009), p. 40 In March 1996, the band played a gig at their local Coliseum Theatre, Aberdare with Catatonia and the Pocket Devils. When the band finished their slot, John Brand approached them and he became their manager.Marks (2009), pp. 41–42 Brand managed to get over 35 record companies in the UK interested in signing the Stereophonics.Marks (2009), p. 43 In May 1996, they signed with V2,Marks (2009), p.

In 1962, the studio developed a new subharmonic synthesizer, the "Subharchord", which was used in radio, film, and television and was exported to broadcasting organizations in Czechoslovakia and Norway. Also beginning in 1956, his acoustic laboratory studied the subjective evaluation of audio transmission quality, reproduction, and listening conditions. Steinke worked closely with sound engineers, sound designers (Tonmeisters), and production artists at the Funkhaus Berlin Nalepastrasse, focusing on experimental recordings and the acoustical properties of rooms. In 1960, he became the head of a telecommunications and broadcasting group, where he was responsible for the introduction of stereophonic broadcasting in East Germany in 1963.

A sound test menu from Dr. Robotnik's Mean Bean Machine, showing options to play sound effects and music. A sound test is a function built into the options screen of many video games. This function was originally meant to test whether the game's music and sounds would function correctly (hence the name), as well as giving the player the ability to compare samples played in Monaural, Stereophonic and later Surround sound. In modern times, most sound tests function mostly as a jukebox to listen to the game's music, sound effects, and voice tracks for enjoyment outside of the game itself.

However, all of F-Zero Xs regular features are accessible in addition to twelve new tracks, a car editor and a track creator. As the Expansion Kit benefits from a larger amount of storage on disk when compared to the original cartridge version, it includes new soundtracks in stereophonic sound as well as the entire collection of monaural audio tracks from the original game. In addition to the two new cups, it is also possible to create custom cups. The disk can save up to a hundred tracks and up to three ghost racers per course.

Stereo imaging refers to the aspect of sound recording and reproduction of stereophonic sound concerning the perceived spatial locations of the sound source(s), both laterally and in depth. An image is considered to be good if the location of the performers can be clearly identified; the image is considered to be poor if the location of the performers is difficult to locate. A well-made stereo recording, properly reproduced, can provide good imaging within the front quadrant. More complex recording and reproduction systems such as surround sound and Ambisonics can offer good imaging all around the listener and even including height information.

Reconstruction of the directional antenna used in the discovery of radio emission of extraterrestrial origin by Karl Guthe Jansky at Bell Telephone Laboratories in 1932 In 1931, a foundation for radio astronomy was laid by Karl Jansky during his work investigating the origins of static on long-distance shortwave communications. He discovered that radio waves were being emitted from the center of the galaxy. In 1931 and 1932, experimental high fidelity, long playing, and even stereophonic recordings were made by the labs of the Philadelphia Orchestra, conducted by Leopold Stokowski.Leopold Stokowski, Harvey Fletcher, and the Bell Laboratories Experimental Recordings, Stokowski.org.

The orchestra's first recordings were made in July 1935 for RCA Victor, including the first complete recording of George Gershwin's Rhapsody in Blue. The Pops made their first high-fidelity recording on June 20, 1947, of Gaîté Parisienne (based on the music of Jacques Offenbach), and recorded the same music seven years later in stereophonic sound, their first venture in multitrack recording. Fiedler is also credited with having begun the annual tradition of the Fourth of July Pops concert and fireworks display on the Esplanade, one of the best-attended Independence Day celebrations in the country with estimated crowds of 200,000–500,000 people.

After General Electric's Pallophotophone fell out of use in the early 1930s, optical multi- track recording did not have a resurgence for nearly three decades when high fidelity and stereophonic recordings became available commercially. Walt Disney made an attempt in 1940 when he began sound production for Fantasia with the Philadelphia Orchestra. Disney set up 33 microphones at the Academy of Music and ran these into eight independently operated mixing stations. The eight tracks were then recorded optically onto 35mm film, with a ninth track adding tempo for Disney's artists to synchronize their animation to the soundtrack.

The Kahn-Hazeltine system also called ISB was developed by American engineer Leonard R. Kahn and the Hazeltine Corporation. This system used an entirely different principle—using independently modulated upper and lower sidebands. While a station using the system would sound best with proper decoding, it was also possible to use two standard AM radios (one tuned above and the other below the primary carrier) to achieve the stereophonic effect, although with poor stereo separation and fidelity compared to a proper Kahn system AM stereo receiver. One of the best known stations to use the Kahn system was 890/WLS, Chicago.

In 1954 Walker produced Decca's first stereophonic recordings; they were of Russian works recorded in Geneva with the Suisse Romande Orchestra conducted by Ernest Ansermet. Walker was Decca's principal producer in Geneva for the rest of the 1950s. He also supervised sessions in Rome of operatic recordings starring Renata Tebaldi. Many of Walker's stereo recordings from the late 1950s have been reissued on CD, including Britten's A Midsummer Night's Dream conducted by the composer, Elgar's Enigma Variations conducted by Pierre Monteux (1958), Sir Thomas Beecham's extravagantly rescored Messiah (1959), and Boult's more scholarly recording of the same work (1961).

This was one of the first stereophonic 45s. In the 1970s, Wier switched to country-rock and became a fixture on the burgeoning Austin music scene, and had a cult success with the song "I Heard You Been Layin' My Old Lady". But he is perhaps most famous for his composition "Don't It Make You Wanna Dance," which was a minor pop hit for him, but has been covered by, among others, Jerry Jeff Walker, Todd Snider, Chris LeDoux, John Hiatt, and Barbara Mandrell. Bonnie Raitt's version of the song was a country hit when it was included on the Urban Cowboy soundtrack.

The album was released in the LP format on Capitol in June 1967 in both monaural and stereophonic editions (catalogue numbers T 2763 and ST 2763, respectively), and subsequently, on 8-track tape (catalogue number 8XT 2763) and cassette (catalogue number C4-80129). In 1995, Capitol reissued the album on CD (catalogue number CDP-80129). Raven issued a 27-track "two-fer" CD In 2008, featuring all tracks from this and the band's first album (under its 1975 reissue name, The Stone Poneys Featuring Linda Ronstadt), plus four tracks from their third album, Linda Ronstadt, Stone Poneys and Friends, Vol. III.

Over the next two years, Blumlein developed stereo microphones and a stereo disc-cutting head, and recorded a number of short films with stereo soundtracks. In the 1930s, experiments with magnetic tape enabled the development of the first practical commercial sound systems that could record and reproduce high-fidelity stereophonic sound. The experiments with stereo during the 1930s and 1940s were hampered by problems with synchronization. A major breakthrough in practical stereo sound was made by Bell Laboratories, who in 1937 demonstrated a practical system of two-channel stereo, using dual optical sound tracks on film.

In 1937, Bell Laboratories in New York City gave a demonstration of two-channel stereophonic motion pictures, developed by Bell Labs and Electrical Research Products, Inc."New Sound Effects Achieved in Film", The New York Times, Oct. 12, 1937, p. 27. Once again, conductor Leopold Stokowski was on hand to try out the new technology, recording onto a special proprietary nine-track sound system at the Academy of Music in Philadelphia, during the making of the movie One Hundred Men and a Girl for Universal Pictures in 1937, after which the tracks were mixed down to one for the final soundtrack.

Domestic stereo system, having two speakers. The progress of stereophonic sound was paced by the technical difficulties of recording and reproducing two or more channels in synchronization with one another, and by the economic and marketing issues of introducing new audio media and equipment. A stereo system cost up to twice as much as a monophonic system, since a stereo system contains two preamplifiers, two amplifiers, and two speaker systems. In addition, the user would need an FM stereo tuner, to upgrade any tape recorder to a stereo model, and to have their phonograph fitted with a stereo cartridge.

According to Jack Hannold: On April 19, 1961, the FCC released its Final Order selecting the Zenith/GE system as the FM stereophonic broadcasting standard. At 9:59 AM that day, Crosby-Teletronics stock was worth $15 a share; by 2:00 P.M. it was down to less than $2.50. Another (albeit relatively minor) factor in the FCC choosing the Zenith/GE system was the widespread use of vacuum tubes in radios at the time; the additional tubes for an all-FM system would have increased the size, weight, cost of and heat generated by each tuner or receiver.

176–177 The first recording of the complete opera was made by Italian Columbia in March and April 1932. It was conducted by Lorenzo Molajoli with the chorus and orchestra of La Scala, and a cast including Giacomo Rimini as Falstaff and Pia Tassinari as Alice.Notes to Naxos Historical CD 8.110198–99 (2002) Some live stage performances were recorded in the 1930s, but the next studio recording was that conducted by Arturo Toscanini for the 1950 NBC radio broadcast released on disc by RCA Victor. The first stereophonic recording was conducted by Herbert von Karajan for EMI in 1956.

In FM broadcasting and other analog radio media, multiplexing is a term commonly given to the process of adding subcarriers to the audio signal before it enters the transmitter, where modulation occurs. (In fact, the stereo multiplex signal can be generated using time-division multiplexing, by switching between the two (left channel and right channel) input signals at an ultrasonic rate (the subcarrier), and then filtering out the higher harmonics.) Multiplexing in this sense is sometimes known as MPX, which in turn is also an old term for stereophonic FM, seen on stereo systems since the 1960s.

Many bands have been called a leader's "best," this last Kenton incarnation of the 1950s bands may very well be the best. It is hard to fathom within three days of a jammed packed recording schedule a group could pull off one of Kenton's most subtle and introspective recordings and then a commercial 'cha cha' album in the opposite direction in terms of style and approach. As trombonist Archie LeCoque recalled, "...it was hard, but at the time we were all young and straight- ahead, we got through it and both albums came out well." By 1959 Stereophonic sound recording was now being fully utilized with all major labels.

Ferry repaid the compliment, naming him in 2010 as the living person he most admired, saying "he greatly influenced my ways of seeing art and the world". Hamilton gave a 1959 lecture, "Glorious Technicolor, Breathtaking Cinemascope and Stereophonic Sound", a phrase taken from a Cole Porter lyric in the 1957 musical Silk Stockings. In that lecture, which sported a pop soundtrack and the demonstration of an early Polaroid camera, Hamilton deconstructed the technology of cinema to explain how it helped to create Hollywood’s allure. He further developed that theme in the early 1960s with a series of paintings inspired by film stills and publicity shots.

"British Decca LP" – The AHRC Research Centre for the History and Analysis of Recorded Music The Decca stereo format was called (in succession to ffrr) "ffss", i.e. "full frequency stereophonic sound". With most competitors not using stereo until 1957, the new technique was a distinctive feature of Decca. Even after stereo became standard and into the 1970s, Decca boasted a special, spectacular sound quality, characterised by aggressive use of the highest and lowest frequencies, daring use of tape saturation and out-of-phase sound to convey a lively and impactful hall ambiance, plus considerable bar-to-bar rebalancing by the recording staff of orchestral voices, known as "spotlighting".

Unlike other capacitor microphones, they require no polarizing voltage, but often contain an integrated preamplifier that does require power (often incorrectly called polarizing power or bias). This preamplifier is frequently phantom powered in sound reinforcement and studio applications. Monophonic microphones designed for personal computers (PCs), sometimes called multimedia microphones, use a 3.5 mm plug as usually used, without power, for stereo; the ring, instead of carrying the signal for a second channel, carries power via a resistor from (normally) a 5 V supply in the computer. Stereophonic microphones use the same connector; there is no obvious way to determine which standard is used by equipment and microphones.

President Nixon (right) with NASA Administrator James C. Fletcher in January 1972 Star Trek in front of the Space Shuttle Enterprise at the Palmdale manufacturing facility Fletcher was born in Millburn, New Jersey to Harvey Fletcher and Lorena Chipman. His father, Harvey is known as the "Father of Stereophonic sound". Fletcher earned a bachelor's degree in physics from Columbia College of Columbia University and a Ph.D in physics (1948) from the California Institute of Technology. After holding research and teaching positions at Harvard and Princeton Universities, he joined Hughes Aircraft in 1948 and later worked at the Guided Missile Division of the Ramo-Wooldridge Corporation.

Among the international honours given Solti (and Decca) for his recordings were 31 Grammy awards – more than any other recording artist, whether classical or popular."Solti, Georg", Decca Classics, accessed 22 February 2012 For much of that time, Solti's career at Decca was closely linked with Culshaw. Largely self-educated musically, Culshaw worked for Decca from the age of 22, first writing album liner notes and then becoming a producer. After a brief period working for Capitol Records, Culshaw returned to Decca in 1955 and began planning to record the Ring cycle, employing the new stereophonic technique to produce recordings of unprecedented realism and impact.

This began a practice of simultaneously recording orchestras with both stereophonic and monaural equipment. Other early stereo recordings were made of Toscanini's final NBC concerts (never officially issued) and Guido Cantelli respectively, with the NBC Symphony Orchestra; the Boston Pops Orchestra under Arthur Fiedler; and the Chicago Symphony Orchestra under Fritz Reiner. Initially, RCA used RT-21 quarter-inch tape recorders (which ran at 30 inches per second), wired to mono mixers, with Neumann U-47 cardioid and M-49/50 omnidirectional microphones. Then they switched to an Ampex 300–3 one-half inch machine, running at 15 inches per second (which was later increased to 30 inches per second).

Kiss Me Kate was previewed on October 15, 1953 in four locations, two in 3-D with stereophonic sound (in Columbus, Ohio, and at the Victory Theatre in Evansville, Indiana) and two in 2-D (Loew's theatres in Rochester, New York and Houston). Additional previews took place later in October in Dayton, Ohio (2-D), and at the Majestic Theatre in Dallas (3-D). Grosses from the 3-D version were 40% higher. Although Kiss Me Kate is often referred to as the first 3-D musical, Those Redheads From Seattle, also a 3-D musical, was released by Paramount Pictures on October 16.

House of Wax was one of the big hits of 1953, topping the charts for 5 weeks and earning an estimated $5.5 million in rentals from the North American box office alone. To accompany its stereoscopic imagery, House of Wax was originally available with a stereophonic three-track magnetic soundtrack, although many theaters were not equipped to make use of it and defaulted to the standard monophonic optical soundtrack. Previously, films with stereo sound only were produced to be shown in specialty cinemas, such as the Toldi in Budapest and the Telecinema in London.Eddie Sammons, The World of 3-D Movies, Delphi, 1992 p 32R.

Walt Disney's cartoon character Mickey Mouse entered a decline in popularity in the mid-1930s. Disney devised a comeback appearance for Mickey in 1936 with The Sorcerer's Apprentice, a more elaborate edition of the animated Silly Symphonies series set to the music of The Sorcerer's Apprentice by Paul Dukas. Disney met conductor Leopold Stokowski in late 1937 at Chasen's, a noted Hollywood restaurant, and Stokowski agreed to conduct the piece at no cost. Stokowski was an enthusiast for new and improved methods of sound reproduction and had already participated in experimental stereophonic sound recordings in 1931 and 1932, and a live, long distance demonstration of multi-channel sound a year later.

Disney settled on the film's concept in 1938 as work neared completion on The Sorcerer's Apprentice, an elaborate Silly Symphonies short designed as a comeback role for Mickey Mouse, who had declined in popularity. As production costs grew higher than what it could earn, Disney decided to include the short in a feature-length film with other segments set to classical pieces. The soundtrack was recorded using multiple audio channels and reproduced with Fantasound, a pioneering sound reproduction system that made Fantasia the first commercial film shown in stereophonic sound. Fantasia was first released as a theatrical roadshow held in thirteen U.S. cities from November 13, 1940.

While the implementation of CX with LPs was quite unsuccessful and short- lived, CX would later see success as the noise reduction used for the stereo analog audio tracks on the LaserDisc format. It was also used for the audio tracks on discs of the RCA SelectaVision CED Videodisc system. All LaserDisc (and stereophonic CED) players manufactured since 1981, when the CX equipped LD-1100 was introduced, had CX noise reduction capability as a standard feature. Pioneer also released a stand-alone CX adapter for use with their VP-1000, Magnavox's VH-8000/8005 and the industrial players that were all released before CX was adopted.

Budget crises and other disasters stretched the shooting schedule to three years, including 1.4 million francs in repairs after the set was damaged by storms. Tati observed, correctly, that the cost of building the set was no greater than what it would have cost to have hired Elizabeth Taylor or Sophia Loren for the leading role. Budget overruns forced Tati to take out large loans and personal overdrafts to cover ever-increasing production costs. As Playtime depended greatly on visual comedy and sound effects, Tati chose to shoot the film on the high-resolution 70 mm film format, together with a complicated (for its day) stereophonic soundtrack.

Stereo or stereophonic sound is the reproduction of sound using two or more independent audio channels through a symmetrical configuration of loudspeakers in such a way as to create the impression of sound heard from various directions, as in natural hearing. It is often contrasted with monophonic, or "mono" sound, where audio is in the form of one channel, often centered in the sound field (analogous to a visual field). Sound recording and reproduction is an electrical or mechanical inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording.

The sound shots were obtained by three omnidirectional microphones suspended at 1.5 meters over the orchestral group (Decca tree). Although the specialized music lover enthusiastically welcomed stereophonic recordings for his ability to reproduce the music in an analogous way as it would be heard in a concert hall, the system in principle did not have a good response at popular level. This was mainly due to the high cost of reproduction equipment that did not correspond to appreciable advantages by potential buyers. In the early 1960s, strong competition began among the various record companies in an attempt to introduce the system to the non- specialized client.

The Stanley was originally built as a neighbourhood theatre, but gradually became more popular and attracted moviegoers from throughout the Vancouver region. From the 1950s onwards, progressively improved sound and projection systems along with refurbished seating added to the theatre's appeal. On July 8, 1954 the Stanley began showing films in stereophonic CinemaScope for the first time. By December 1958, the theatre had a DP70 70mm projector, and the Stanley was advertised as "the only Todd-AO theatre in Western Canada". By October 1978, the auditorium was equipped with Dolby Stereo, and by December 1985 its sound system was upgraded and certified to THX quality assurance standards.

The building, the ground plan of which is a triangle with two curved sides and a 150-metre-long straight façade clad with ceramic tiles, was constructed between 1929 and 1930 and inaugurated on 22 January 1931 as the seat of the Reichs-Rundfunk- Gesellschaft. The large, central broadcasting space was finished in 1933. On 22 March 1935 the first regular television service in Germany Fernsehsender Paul Nipkow was begun here, but moved to a separate building on nearby Theodor-Heuss-Platz in 1937. The Haus des Rundfunks also had an important influence on the development of stereophonic sound and its adoption by radio broadcasting.

In the US, a LaserDisc release by The Criterion Collection retains the original stereophonic soundtrack taken from a 70mm print. An official DVD release (with a mono soundtrack as the original stereo tracks were not available) was later issued by StudioCanal through Metro-Goldwyn-Mayer. The film was released on Blu-ray in the UK in 2008; this version is region-free. On 22 January 2014, Twilight Time issued a limited-edition Blu-ray of Zulu in the US with John Barry's score as an isolated track; the release date being the 50th anniversary of the film and the 135th anniversary of the actual battle.

The applause was dubbed onto the original release to cover up the fact that Gonsalves had been playing into the wrong microphone and was often completely inaudible. On the 1999 reissue, the VoA live recording and live Columbia tapes were painstakingly pieced together using digital technology to create a stereophonic recording of the most well-known Ellington performance of the past fifty years, this time with Gonsalves' solo clearly heard, though the beginning of the audience cheering and noise at around the seventh or eighth chorus of the solo can still be heard as well.Schaap, Phil. Liner notes to Ellington at Newport (Complete), Columbia Records / Legacy C2K 64932, 1999 February.

The bulk of Argenta's recorded legacy consists of recordings of over 50 zarzuelas with Alhambra (Spanish Columbia). He also was to record perhaps as many as 80 classical pieces, many for Decca,Many of these Decca and Alhambra recordings have been released on CD, most notably, Great Conductors of the 20th Century: Ataulfo Argenta (EMI Classics 75097) and The Complete Decca Recordings of Ataúlfo Argenta, 1953-1957 (Decca 4757747/5) such as Hector Berlioz's Symphonie fantastique with the Paris Conservatoire Orchestra. For example, his famous stereophonic demonstration record "España!", with the London Symphony Orchestra, made at Kingsway Hall in January 1957, featured Spanish-themed music by mostly non-Spanish composers.

The album was released in both monaural and stereophonic versions on 23 June 1967 (IMLP 008 and IMSP 008, mono and stereo versions respectively) in the United Kingdom, and later, it was released in mainland Europe and Oceania. Even though it was a success, it failed to breach the top 10, peaking at number 12 on the UK Album Chart. This is most likely due to the lack of a hit single accompanying the album. Ultimately, it became the group's only studio effort to fail charting within the top 5 on the UK albums chart, as both their debut and Ogdens' Nut Gone Flake peaked at number 3 and 1 respectively.

Holloway had a 54-year recording career, beginning in the age of acoustic recording, and ending in the era of the stereophonic LP. He mainly recorded songs from musicals and revues, and he recited many monologues on various subjects. Most prominent among his recordings (aside from his participation in recordings of My Fair Lady) are those of three series of monologues that he made at intervals throughout his career. They featured Sam Small, Albert Ramsbottom, and historical events such as the Battle of Hastings, Magna Carta and the Battle of Trafalgar. In all, his discography runs to 130 recordings, spanning the period 1924 to 1978.

Sinatra's Sinatra is an album by American singer Frank Sinatra, released in 1963. Ten of the album's twelve tracks are re-recorded versions of songs that Sinatra had previously released, with "Pocketful of Miracles" and "Call Me Irresponsible" being first-time recordings for Sinatra. Sinatra's two previous record labels, Columbia Records and Capitol Records, had both successfully issued collections of Sinatra's hits; this album was the attempt of his new label, Reprise Records, to duplicate this success by offering some earlier songs in stereophonic sound, which by 1963 was an exploding recording technology. The album was arranged and conducted by frequent Sinatra collaborator Nelson Riddle.

The group's popularity began to wane as rock and roll became popular in the mid 1950s, but the group reinvented itself by using its RCA Victor recording sessions as an audio laboratory, employing additional instruments and novel stereophonic effects. These new arrangements became popular among fans of lounge music and exotica. Al Nevins remained with RCA Victor as a producer and arranger until his death in 1965; Morty Nevins then hired studio musicians Fred Mendelssohn and Vinnie Bell and recorded a new stereo album for Musicor in 1966, using the Three Suns name. Founding member Al Nevins was also co-founder of Aldon Music, a Brill Building songwriting company.

In the early 1950s, the proliferation of black-and-white television started seriously depressing North American theater attendance. In an attempt to lure audiences back into theaters, bigger screens were installed, widescreen processes, polarized 3D projection, and stereophonic sound were introduced, and more films were made in color, which soon became the rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first, they were very expensive and few broadcasts were in color.

From the 1950s onward, XEOY's format imitated that of XEW-AM, with general interest and family programming, as well as recorded music. August 28, 1957, saw XEOY branch out onto FM with XEOY-FM, originally on 100.5 MHz and later on 100.9 MHz. In 1961, that station became classical music "Estereomil"; it was swapped with XEBS-FM in 1967 to move to 89.7 MHz (now XEOYE-FM), while 100.9 FM is now XHSON-FM (still owned by NRM). In 1980, XEOY-AM became the first AM radio station in Mexico to broadcast in stereophonic sound; the SCT would not help stations broadcast in stereo until 1990.

The replacement of the relatively fragile thermionic valve (vacuum tube) by the smaller, lighter-weight, cooler-running, less expensive, more robust, and less power-hungry transistor also accelerated the sale of consumer high-fidelity "hi-fi" sound systems from the 1960s onward. In the 1950s, most record players were monophonic and had relatively low sound quality. Few consumers could afford high-quality stereophonic sound systems. In the 1960s, American manufacturers introduced a new generation of "modular" hi-fi components — separate turntables, pre-amplifiers, amplifiers, both combined as integrated amplifiers, tape recorders, and other ancillary equipment like the graphic equaliser, which could be connected together to create a complete home sound system.

Following his three-year stint with Philco which had concluded in the previous June, Bing Crosby's first programme with his new sponsors was broadcast on the 21st September 1949. The decade which was drawing to a close had consolidated Crosby's position as the world's most popular singer and in comparison to periods of a similar duration, was his most productive in terms of feature films, records, radio time and personal appearances. Only in retrospect can the massive transformation that overtook the entertainment business, in the Fifties, be appreciated. The ailing cinema still believed it could find its salvation in gimmicks and dabbled with wide screens, stereophonic sound and 3D.

It was not until its 1956 re-release that stereo sound was restored to the film. In the early 1940s, composer-conductor Alfred Newman directed the construction of a sound stage equipped for multichannel recording for 20th Century Fox studios. Several soundtracks from this era still exist in their multichannel elements, some of which have been released on DVD, including How Green Was My Valley, Anna and the King of Siam, The Day the Earth Stood Still and Sun Valley Serenade which, along with Orchestra Wives, feature the only stereophonic recordings of the Glenn Miller Orchestra as it was during its heyday of the Swing Era.

ORTF stereo microphone technique. These techniques combine the principles of both A-B and X-Y (coincident pair) techniques. For example, the ORTF stereo technique of the Office de Radiodiffusion Télévision Française (Radio France) calls for a pair of cardioid microphones placed 17 cm apart at a total angle between microphones of 110°, which results in a stereophonic pickup angle of 96° (Stereo Recording Angle, or SRA). In the NOS stereo technique of the Nederlandse Omroep Stichting (Dutch Broadcasting Organisation), the total angle between microphones is 90° and the distance is 30 cm, thus capturing time-of-arrival stereo information as well as level information.

Detail of the Optigan's chord buttons, special effect rocker switches, power switch, tempo adjustment wheel and stereo balance wheel. The adhesive-backed metal "Stereophonic" trim plate covers the unused reverb control opening on this example The Optigan looked like a scaled-down version of the electronic organs of the day. The various cabinet designs and their matching benches were simulated wood made out of a molded plastic the manufacturer dubbed "Temperite" and finished with matching speaker grille cloth and occasionally reverb units inside the unit. A mechanical reverb unit and cabinetry with genuine wood veneer were available as extra-cost options; the control for the reverb on units so equipped is located below the power switch.

Dowd helped to shape the artists that he worked with, and because he worked with an array of great artists on some of the world's greatest recordings, Dowd was highly influential in creating the sound of the second half of the 20th Century. It was he who encouraged Jerry Wexler of Atlantic Records to install an Ampex eight-track recorder, enabling Atlantic to be the first recording company to record using multiple tracks. Dowd is credited as the engineer who popularized the eight-track recording system for commercial music and popularized the use of stereophonic sound. He also pioneered the use of linear channel faders as opposed to rotary controls on audio mixers.

The first stereophonic recording was made by EMI in 1964, conducted by Sir John Barbirolli. It has remained in the catalogues continuously since its first release, and is notable for Janet Baker's singing as the Angel. Benjamin Britten's 1971 recording for Decca was noted for its fidelity to Elgar's score, showing, as the Gramophone reviewer said, that "following the composer's instructions strengthens the music's dramatic impact". Of the other dozen or so recordings on disc, most are directed by British conductors, with the exception of a 1960 recording in German under Hans Swarowsky and a Russian recording (sung in English by British forces) under Yevgeny Svetlanov performed 'live' in Moscow in 1983.

A 24-hour clock displayed on a CRT oscilloscope configured in X-Y mode as a vector monitor with dual R2R DACs to generate the analog voltages Most modern oscilloscopes have several inputs for voltages, and thus can be used to plot one varying voltage versus another. This is especially useful for graphing I-V curves (current versus voltage characteristics) for components such as diodes, as well as Lissajous patterns. Lissajous figures are an example of how an oscilloscope can be used to track phase differences between multiple input signals. This is very frequently used in broadcast engineering to plot the left and right stereophonic channels, to ensure that the stereo generator is calibrated properly.

In 1955, he created Lady and the Tramp, the first animated film in CinemaScope. Upon building Disneyland in 1955, Walt Disney regained a huge amount of popularity among the public, and turned his focus at producing his most ambitious movie: Sleeping Beauty. Sleeping Beauty was filmed in Super Technirama 70 mm film and in stereophonic sound like Fantasia. Sleeping Beauty also signaled a change in the style of drawing, with cartoony and angular characters; taking influence from United Productions of America (UPA). Although Sleeping Beauty was the second-highest-grossing film of 1959 (just behind Ben-Hur), the film went over budget, costing $6 million, and the film failed to make back its expenditure.

Leopold Stokowski was, at the time of the film's release, co- conductor of the Philadelphia Orchestra with Eugene Ormandy. Political and artistic differences with the orchestra's board had already led Stokowski to allow Ormandy to assume a greater leadership role at the orchestra and eventually would lead Stokowski to break with the orchestra entirely. This might explain why the city in which the film is set, and by extension Stokowski's "regular" orchestra, is never positively identified in the film. The music was recorded in multi-channel stereophonic sound but released in monaural sound; three years later Stokowski and the Philadelphia Orchestra appeared in the first feature film to be presented in stereo, Fantasia.

Vitasound was an experimental sound system developed by Warner Brothers in 1939. It was intended to provide a wider sound source and greater dynamic range for music and effects than standard soundtracks of the period.'Vitasound' by Levinson & Goldsmith: JSMPE 1941 Vol37 p147 But unlike the near-contemporary Fantasound system used for the roadshow release of Walt Disney's 'Fantasia' it was not a stereophonic system. In order to achieve a wider sound source and greater dynamic range the Vitasound system employed additional left and right loudspeakers which could be switched in parallel with the normal center loudspeaker, and a variable-gain amplifier which could increase the replay volume by up to 10dB.

These recordings were initially issued in 1955 on special stereophonic reel-to-reel tapes and then, beginning in 1958, on vinyl LPs with the "Living Stereo" logo. RCA has continued to reissue many of these recordings on CD.The History of Living Stereo, RCA Victor liner notes Another 1953 project for RCA was converting the acoustically superior building Webster Hall into its main East Coast recording studio. RCA operated this studio venue from 1953 to 1968. In September 1954, RCA Victor introduced "Gruve-Gard" where the center and edge of a record are thicker than the playing area, reducing scuff marks during handling and when stacked on a turntable with an automatic record changer.

It can be shifted as a 5-speed: from 1st to 2nd, to 2nd+OD, to 3rd, to 3rd+OD. Other options included "Solex" tinted glass (70% of production), power steering, heavy-duty suspension, "Twin-Grip" limited slip differential, air conditioning, adjustable steering wheel, power windows, and a choice of AM radio or an AM/FM monaural unit (50% of production) with "Duo Costic" rear speaker and "Vibra Tone" system to simulate stereophonic sound (stereo broadcasting was not yet widely available in the U.S.). Only 221 Marlins were built without a radio. Wide-ranging interior colors and upholstery choices were available, and options for the exterior, including accent colors for the roof and side window trim, enabled further customization.

In 1969 Harman bought the major speaker manufacturer JBL. In 1970 Harman marketed the first stereophonic cassette recording deck with Dolby B noise reduction. In 1976, Harman supported Jimmy Carter's bid to become President of the United States. When Carter became President, he appointed Harman to be the Deputy Secretary of Commerce. As US law required appointees to have no direct business interests in day-to-day activities, Harman had to sell the company, and he sold the company to Beatrice Foods, a large conglomerate, for $100 million. 1980 brought the introduction of the Citation XX high current amplifier, which provided quicker response to large signal transitions from the power amplifier to the speakers.

Stanley Holloway in 1974 The English comic singer, monologist and actor, Stanley Holloway (1890–1982), had a 54-year recording career, beginning in the age of acoustic recording, and ending in the era of the stereophonic LP. He mainly recorded songs from musicals and revues, and he recited many monologues on various subjects. Most prominent among his recordings (aside from his participation in recordings of My Fair Lady) are those of three series of monologues that he made at intervals throughout his career. They featured Sam Small, Albert Ramsbottom, and historical events such as the Battle of Hastings, Magna Carta and the Battle of Trafalgar. In all, his discography runs to 130 recordings, spanning the period 1924 to 1978.

Aloha from Hawaii is a two-disc set—only the second such release of Presley's career (the first being 1969's double set From Memphis to Vegas/From Vegas to Memphis, which contained one album each of studio and concert recordings). It was initially released only in quadraphonic sound, becoming the first album in the format to top the Billboard album chart. After Quadrophonic sound failed to catch on, RCA issued a standard stereophonic version of the album. The album contains all the live performances from the TV special, but omits the five songs Presley recorded after the show and which were featured on the original broadcast; these would be issued later on the album Mahalo from Elvis.

Doris Day's Sentimental Journey is studio album by American singer Doris Day, released by Columbia Records on July 12, 1965 as a monophonic LP (catalog number CL-2360) and a stereophonic album (catalog number CS-9160). This was Day's final album for Columbia, and her last album of previously unissued material until 1994. The album gets its title from Doris Day's first big hit, "Sentimental Journey," which she performed as a part of the band Les Brown and His Band of Renown in 1945, and was re-recorded for this album. Other tracks on the album consist mostly of pop standards, principally composed in the 1940s, approximately contemporaneously with the title track.

Multitrack recording of sound is the process in which sound and other electro- acoustic signals are captured on a recording medium such as magnetic tape, which is divided into two or more audio tracks that run parallel with each other. Because they are carried on the same medium, the tracks stay in perfect synchronisation, while allowing multiple sound sources to be recorded asynchronously. The first system for creating stereophonic sound (using telephone technology) was demonstrated by Clément Ader in Paris in 1881. The pallophotophone, invented by Charles A. Hoxie and first demonstrated in 1922, recorded optically on 35 mm film, and some versions used a format of as many as twelve tracks in parallel on each strip.

53 Among the recordings produced by Olof that have seldom been out of the catalogues are Das Lied von der Erde with Bruno Walter and Kathleen Ferrier, and a series of Mozart operas made in 1955 with the Vienna Philharmonic Orchestra and singers mostly from the Vienna State Opera. At that time, Olof was little interested in stereophonic recordings; he supervised the mono recordings with one of Decca's senior engineers, while his assistant, Peter Andry, and a junior engineer made simultaneous stereo recordings of the same sessions. Among those whose recordings Olof supervised for Decca were Josef Krips, Karl Böhm, Erich Kleiber, Carl Schuricht, Lisa della Casa, Cesare Siepi, Wilhelm Backhaus and Clifford Curzon.

The film was released on VHS as an installment in the Walt Disney Masterpiece Collection on October 28, 1994. The restored version of the film was released on VHS and DVD on March 20, 2001 as part of the Walt Disney Gold Classic Collection, to commemorate the 30th anniversary of the film. The reconstruction additionally marked the first time the film was presented in stereophonic sound. Along with the film, the DVD included a twenty-minute making-of featurette with the Sherman brothers, a recording session with David Tomlinson singing the ending of "Portebello Road", a scrapbook containing thirteen pages of concept art, publicity, and merchandising stills, and a Film Facts supplement of the film's production history.

From the late 1970s, the Australian regulator had been closely following developments in the US, Britain and Europe, as to the various competing AM radio stereophonic broadcasting technologies. Commercial FM radio in Australia was still nascent and the commercial AM radio incumbents had not yet awoken to the great threat to their viability that FM radio would play in the future. But with the implementation of the Geneva Plan in late 1978, AM channel spacing had been reduced from 10 kHz to 9 kHz, with some potential loss of fidelity in terms of audio bandwidth. All the AM stereo systems under investigation offered not just stereo reproduction but also wider audio bandwidth receivers.

Ormandy conducted his first stereophonic recordings in 1957; these were not the orchestra's first stereo recordings because Leopold Stokowski had conducted experimental sessions in the early 1930s and multi- track recordings for the soundtrack of Walt Disney's 1940 feature film Fantasia. In 1968, Ormandy and the Philadelphia Orchestra returned to RCA; among their first projects was a new performance of Tchaikovsky's Sixth symphony, the Pathetique. His recordings of Camille Saint-Saëns' Symphony No. 3 'Organ' were considered the best ever produced by Fanfare Magazine which remarked of the recording with renowned organist Virgil Fox: "This beautifully played performance outclasses all versions of this symphony." The Telarc recording of the symphony with Michael Murray (organist) is also highly praised.

"In My Country There Is Problem", also known as "Throw the Jew Down the Well" after the song's key line, is a song written by British comedian Sacha Baron Cohen for his comic character Borat Sagdiyev. It features in the episode "Peace" of the series 3 of Da Ali G Show, in the 'Country Music' segment of "Borat's Guide to the USA (Part 2)", that focuses heavily on the (positive) reaction of the patrons of an Arizona country and western bar to the antisemitic sentiments of the song. It appeared in Stereophonic Musical Listenings That Have Been Origin in Moving Film "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan".

In the early 1970s, Vox and its subsidiaries issued a number of compatible quadraphonic/stereophonic recordings using the Sansui QS quadraphonic matrix system; some of the ambience can still be heard when the CD versions are played with an amplifier with Dolby decoding and four speakers. One of these was the first album made by the Atlanta Symphony Orchestra and Chorus, led by Robert Shaw, a 2-LP set entitled Nativity. Many of its recordings were later issued on CD. The company has continued a program of new releases, too, by such orchestras as the New Zealand Symphony Orchestra.Eyewitness account by Robert E. Nylund In 1978, the label was acquired by Moss Music Group.

The AR-1 set new standards of low-frequency performance and low distortion that were unsurpassed for many years and some of the best loudspeakers available fifty-two years later continue to use the acoustic suspension principle for highest quality, low distortion bass reproduction. The small size of the high performance AR-1 (permitted by the acoustic suspension design) helped usher in the age of stereophonic sound reproduction. Two bookshelf-sized loudspeakers were far more acceptable in a living room than the two refrigerator-sized boxes previously necessary to reproduce low frequency bass notes. By March 1957, AR began shipping a smaller, less expensive, acoustic suspension system, the US$87 Model AR-2.

With Bernard Shaw, the BBC and others, Gaisberg was partly responsible for persuading Elgar to write a third symphony, although he died before he could complete any more than initial sketches. (They were eventually "elaborated" into a symphonic shape by the composer Anthony Payne four decades later.) Gaisberg refused offers of a directorship at HMV, preferring to remain a link between the artists and the company. At age 66, in 1939, he retired but continued on as a consultant at EMI, exerting considerable influence on the recording industry. In the late 1940s he argued in favour of long-play (LP) records, introduced by Columbia Records in 1948, and stereophonic recording, introduced in 1958 after his death.

They recorded the soundtrack for Walt Disney's Fantasia in multi-track stereophonic sound in 1939–40. Arturo Toscanini made a series of recordings for RCA Victor with the orchestra in 1941 and 1942. The masters for these records were damaged during the electroplating process, resulting in unusually high surface noise and distortion and they were not approved for release. In 1963, after extensive electronic editing, RCA Victor released one of the recordings on LP, the Schubert Symphony in C Major. In 1977, RCA issued all of the recordings in a 5 LP boxed set and they were later digitally remastered and reissued by RCA on CD in 1992 and again, in 2006.

On March 5, 1958, a "sincere thank you" letter for the facilities and "excellent cooperation received by Mr. Leo Battin and his fine staff" at WBOE was sent to the Board of Education by Richard M. Klaus, Vice President and General Manager of radio station WERE.Proceedings of the [Cleveland] Board of Education, Vol. 79. At the regular March 16, 1959 Cleveland Board of Education Meeting, "the Board authorized WBOE-FM to go ahead in a joint program with WERE-FM, on a non-commercial basis, on two Sunday evenings (April 20 and 27) from 8:00pm until 10:45pm" to broadcast a "Seven Arts" program as an experiment in stereophonic sound.Proceedings of the [Cleveland] Board of Education, Vol. 80.

The two stations would remain in E.L. Cord's name until August 1962, when he would sell them to Cleveland Broadcasting Incorporated, headed by former Cleveland, Ohio mayor Raymond T. Miller, for a combined $2 million. Miller also owned WLEC and WLEC-FM in Sandusky, Ohio and had founded WERE (1300 AM) and WERE-FM (98.5) in Cleveland, and pledged to maintain KFAC's classical format. The Los Angeles Times would later write of Cord's ownership, "What seems indisputable is that Cord oversaw the station like a benevolent, disinterested patriarch." The pseudo-stereo broadcasts over KFAC and KFAC-FM continued until KFAC-FM converted to stereophonic sound in 1964, at one point, those broadcasts were offered for 12 hours each week.

The premiere of High, Wide and Handsome at the theater in 1937. The theatre hosted the official premieres of The Life of Emile Zola (1937), Romeo and Juliet (1936), Walt Disney's first animated feature length film Snow White and the Seven Dwarfs (1937) and Gone with the Wind (1939), among many other notable films. For Disney's Fantasia (1940), the most elaborate audio system in use at the time, Fantasound, a pioneering stereophonic process, was installed at this theatre. For the glamorous world premiere of MGM's Marie Antoinette (1938), with Norma Shearer and Tyrone Power, the gardens around the theater were restructured and enhanced to resemble the landscaping of the Palace of Versailles.

Kenneth Alwyn (born Kenneth Alwyn Wetherell; 28 July 1925) is an English conductor, composer and writer. Described by BBC Radio 3 as "one of the great British musical directors", Alwyn is known for his many recordings, including with the London Symphony Orchestra on Decca’s first stereophonic recording of Tchaikovsky’s 1812 Overture. He is also known for his long association with BBC Radio 2's orchestral live music programme Friday Night is Music Night, appearing for thirty years as a conductor and presenter, and for his contribution to British musical theatre as a prolific musical director in the 1950s and 1960s. He is a Fellow of the Royal Academy of MusicAppointed as a Fellow in 2000.

In the next ten years, as movie revenues exploded, independent promoters and movie studios (who owned their own proprietary chains until an antitrust ruling in 1948) raced to build the most lavish, elaborate, attractive theaters. These forms morphed into a unique architectural genre—the movie palace—a unique and extreme architectural genre which boasted a luxurious design, a giant screen, and, beginning in 1953, stereophonic sound. The movie chains were also among the first industries to install air conditioning systems which gave the theaters an additional lure of comfort in the summer period. In 1931, a seat with a pivoted back was designed to allow people to remain seated while other patrons easily passed in front of them.

In the late 1950s, the company began issuing stereophonic recordings, including a rare disc of the music of Swedish composer Hugo Alfvén (1872-1960), conducted by the composer. The "Westminster Laboratory" (W-Lab) series of classical recordings were technically superior to other brands and sold at higher price than the regular Westminster issues. The company was sold in the early 1960s to ABC-Paramount Records, which at first continued to issue new material (as well as reissuing old recordings on the "Westminster Gold" label). Westminster ceased issuing new (original) recordings in 1965; beginning in 1970, ABC's popular "Westminster Gold" reissues sported new eye-catching sleeve designs that used whimsy and humor to garner lucrative sales from high school and college-age classical music fans.

Ader had arranged 80 telephone transmitters across the front of a stage to create a form of binaural stereophonic sound. It was the first two-channel audio system, and consisted of a series of telephone transmitters connected from the stage of the Paris Opera to a suite of rooms at the Paris Electrical Exhibition, where the visitors could hear Comédie-Française and opera performances in stereo using two headphones; the Opera was located more than two kilometers away from the venue. In a note dated 11 November 1881, Victor Hugo describes his first experience of théâtrophone as pleasant. In 1884, the King Luís I of Portugal decided to use the system, when he could not attend an opera in person.

Until 1948 when standard long playing discs first became commercially available,Read, Oliver and Welch, Walter L.; From Tin Foil to Stereo; 1959; Howard Sams & Co Inc, Indianapolis, NY, USA most recordings broadcast were 78 rpm monaural discs with one horizontal sound wave on the disc. In the 1930s however, there were some experiments with a vertical sound wave cut straight down into the disc. At the time, the main advantage of this was seen as being the improved sound quality, but these experiments eventually led to the invention of stereophonic sound. In Melbourne, three radio stations signed contracts with producers of vertical discs that gave them exclusive rights to play their recordings, and these were usually broadcast in specially devoted programs.

Grundig Technische Information, Ausgabe September 1965 The tape's capable of recording 2 soundtracks in opposite directions. The tape speed is 5.08 cm/s = 2 ips, slightly faster than the Compact Cassette. Recording and playback in stereophonic sound would be possible with stereo devices, but there were never any such devices manufactured for this cassette format.Grundig Technische Information, Ausgabe September 1965Zeitschrift „Tonband“, Ausgabe 3/1965Zeitschrift „Tonband“, Ausgabe 2/1967 For a 90-minute DC-90 cassette (45 minutes per side), the tape length is 137 m with a triple play band (PES 18, thickness 0.018 mm). For a 120-minute DC-120 cartridge (60 minutes per side), the tape length is 185 m with quadruple play band (PES 12, thickness 0.012 mm).

There are recordings of each of the Broadway and London productions, as well as the film and television productions. The original 1959 and revival 2003 cast albums each won the Grammy Award, Best Original Cast Show Album. The original Broadway cast album was Ethel Merman's first recording in the then-new stereophonic sound technology. Motion pictures recorded in stereo had been steadily made since 1953, and stereo was first used on magnetic tape in 1954, but it was not until 1958, a year before Gypsy opened, that it became possible to use this technology on records. The 1974 Broadway recording was not an actual recording of the Broadway revival, but a remix of the London Cast recording of 1973 with a new recording of "Some People".

Another feature of the recordings is the early use of stereophonic sound. The first, eponymous track on the album is the only one to feature conventional vocals. Most of the others are instrumentals; however, some feature high-frequency vocals in the style of The Chipmunks, Pinky and Perky and The Nutty Squirrels. Meek also wrote liner notes for each track to set the scene for each piece; for instance, the notes for "Magnetic Field" read, "This is a stretch of the Moon where there is a strange lack of gravity forcing everything to float three feet above the crust, which with a different magnetic field from the surface sets any article in some sections in vigorous motion, and at times everything is in rhythm".

After a license upgrade in the mid-1980s to permit higher power utilizing a new, higher, circularly polarized directional antenna, WLTL now broadcasts at 180 watts, with the transmitter and antenna still at the original location, though with a newer taller tower. The directional pattern places the strongest signal to the south and south- east, while maintaining a null in the direction of WETN, Wheaton College, also operating on 88.1, and to a lesser extent, limiting the signal somewhat to the west to protect WDGC at 88.3 (first adjacent) and WHSD on 88.5 (second adjacent). The power increase also made stereophonic transmission practical. WLTL also moved its studios into Room 10 of the North Campus main building, then later, into its current studios in Room 9.

Magnetic tape enabled the development of the first practical commercial sound systems that could record and reproduce high-fidelity stereophonic sound. The experiments with stereo during the 1930s and 1940s were hampered by problems with synchronization. A major breakthrough in practical stereo sound was made by Bell Laboratories, who in 1937 demonstrated a practical system of two- channel stereo, using dual optical sound tracks on film. Major movie studios quickly developed three-track and four-track sound systems, and the first stereo sound recording for a commercial film was made by Judy Garland for the MGM movie Listen, Darling in 1938. The first commercially released movie with a stereo soundtrack was Walt Disney's Fantasia, released in 1940. The 1941 release of Fantasia used the "Fantasound" sound system.

This is a discography of Giuseppe Verdi's penultimate opera, Otello. It was first performed at La Scala, Milan, on 5 February 1887. Otello has been recorded complete on disc and film a number of times since World War II, but most music-guide reviewers contend that a recording made of a 1947 NBC radio broadcast of the opera conducted by Arturo Toscanini and featuring singers Herva Nelli, Ramón Vinay and Giuseppe Valdengo, is musically the best of these versions.Unk: "I still rank the Toscanini Otello with the famous Scala Tosca recording under De Sabata, as one of the finest opera recordings ever made — not of course comparable technically with the modern stereophonic achievements — but possessing a ..." in Opera (London), Vol.

After Khaidi, Chiranjeevi had hits such as Pasivadi Pranam (1987), Yamudiki Mogudu (1988) and Manchi Donga (1988). Chiranjeevi co produced and acted in Rudraveena (1988), which not only won the Nargis Dutt Award for Best Feature Film on National Integration, but also the Nandi Special Jury Award. Chiranjeevi then experimented with Jagadeka Veerudu Atiloka Sundari, a socio-fantasy directed by K. Raghavendra Rao and produced by Ashwini Dutt. Other experimental works at this time include works such as Kondaveeti Donga the first Telugu film to be released on a 70 mm 6-Track Stereophonic sound, the western genre Kodamasimham and the social problem action film Gang Leader (1991), which were box-office hits and led to Chiranjeevi being regarded as the "boss of Telugu cinema".

In March 1954, the Wallaces put Tucson's first FM station on the air, KTKT-FM (99.5).Broadcasting Yearbook 1955 page 77 Disappointed that classical music was not being heard in Tucson, Tom Wallace hired Jack Frakes, a drama teacher at Rincon High School, as KTKT-FM's first announcer and classical music programmer. KTKT-FM later changed its call sign to KFMM, standing for "FM on the Mountain" in anticipation of a move to Mount Bigelow that was never made. On Sundays, the two stations would simulcast to demonstrate something new: stereophonic sound on FM. The first stereo program in Tucson was on KTKT and KTKT-FM from 2 to 3 PM Sundays, played from the FM studio; the AM and FM stations broadcast separate audio channels.

Starting in the early 1950s, RCA used gatefold packaging for some of their deluxe 45 RPM single releases, such as Nat King Cole's 8-song "Unforgettable" EP with two 45s, released in 1952. Gatefold packaging for LPs was popularized in the late 1950s by band leader and stereophonic studio recording pioneer Enoch Light, so he could fit liner notes he had written describing the sounds in each song on the album sleeve. Disagreement exists as to the identity of the first gatefold LP packaging used with a traditional 33⅓ LP. In recent years, the LP gatefold has been adapted to package CDs without a jewelcase. The LP gatefold (laid out flat) from the original U.S. 1973 LP of Pink Floyd's The Dark Side of the Moon.

The Descriptive Video Service (DVS) is a major United States producer of audio description. DVS often is used to describe the product itself. In 1985, PBS member television station WGBH-TV in Boston, Massachusetts, began investigating uses for the new technology of stereophonic television broadcasting, particularly multichannel television sound (MTS), which allowed for a third audio channel, called the Secondary Audio Program (SAP). With a history of developing closed captioning of programs for hearing-impaired viewers, WGBH considered the viability of using the new audio channel for narrated descriptions of key visual elements, much like those being done for live theatre in Washington, D.C., by Margaret Pfanstiehl, who had been experimenting with television description as part of her Washington Ear radio reading service.

Martin Gold (December 26, 1915 – January 14, 2011) was an American composer, pianist, and bandleader born in New York City, New York, United States. He was the pianist and arranger for the Korn Kobblers, a popular 1940s novelty group billed as "America's most nonsensical dance band", but was probably best known as the composer of the song "Tell Me Why", which was a hit for The Four Aces in 1951. Gold also arranged, conducted, and recorded for RCA Victor light orchestral "mood music" pieces utilising fully the possibilities of the newly developed Stereophonic sound, with whole sections of violins drifting between right and left speakers. He produced Peter Nero's first two albums for RCA and also conducted the accompanying orchestra.

The song was first released in monaural in 1965 on The Beach Boys Today! album. When Capitol reissued the album (minus two tracks) on vinyl under the title Dance Dance Dance in the early 1980s, the complete album was in mono at Brian Wilson's request, as was the case with its 2001 CD release with all the original tracks re-instated. The first stereophonic mix of the song was released on the 1993 compilation The Beach Boys...Summer Dreams!. An alternate mix was released on the 1993 box set Good Vibrations: Thirty Years of The Beach Boys, featuring the instrumental recording on one channel and the vocal recording on the other channel, allowing the listener to hear the complexity of both the instrumental and vocal track.

His early recordings were made at Victor's Trinity Church studio in Camden, New Jersey until 1926, when Victor began recording the orchestra in the Academy of Music in Philadelphia. Stokowski and the Philadelphia Orchestra later participated in long playing, high fidelity, and stereophonic experiments, during the early 1930s, mostly for Bell LaboratoriesFox, Barry (24–31 December 1981) "A hundred years of stereo: fifty of hi-fi", Scientific American, pp 910–911; retrieved 1 March 2012. (Victor even released some early Long Playing Records around this time, which were not commercially successful for several reasons). Stokowski and the Philadelphia Orchestra continued to make records for Victor through December 1940. One of his last 1940 sessions was the world premiere recording of Shostakovich's sixth symphony.

Decca had experimented with stereophonic sound for classical recordings, and hoped to capture the pop market in the same way, by interweaving classical recordings with the group's interpretation of the same music. Instead, the band (initially without the label's knowledge) decided to focus on an album based on an original stage show that they'd been working on, and mix that with classical arrangements of those songs. Keyboardist Mike Pinder had purchased a Mellotron, a tape replay keyboard, and written a song, "Dawn Is A Feeling" as a starting point for a concept piece about a day in the life of everyday man. Hayward wrote "Nights in White Satin" about the changes between one relationship and another, using bedsheets as a metaphor.

" Philip K. Scheuer of the Los Angeles Times declared, "It was a powerful stage drama and it is a powerful screen drama, and Brooks has exacted—and extracted—stunningly real and varied performances from his players ... You may not like it but you won't forget it readily." Not all reviews were as positive. John McCarten of The New Yorker wrote of the characters that "although it is interesting for a while to listen to them letting off emotional steam, their caterwauling (boosted Lord knows how many decibels by stereophonic sound) eventually becomes severely monotonous." McCarten also lamented that the filmmakers were "unable to indicate more than fleetingly the real problem of the hero—homosexuality, which is, of course, a taboo subject in American movies.

Aladdin is a 1958 musical fantasy written especially for television with a book by S.J. Perelman and music and lyrics by Cole Porter, telecast in color on the DuPont Show of the Month by CBS. It was Porter's very last musical score. Columbia Records issued both monophonic and stereophonic LP's of the songs with members of the original TV cast, which included Cyril Ritchard, Dennis King, Basil Rathbone, Anna Maria Alberghetti, Geoffrey Holder (as the Genie), Sal Mineo (as Aladdin,) and Una Merkel (as Aladdin's mother). Sony Records has digitally remastered the stereo recording for release on CD. As far as is known, the original telecast was never repeated (although videotape was in use by then), nor has it been issued on VHS or DVD.

It is common for and elements to carry `class` or `id` attributes in conjunction with CSS to apply layout, typographic, color, and other presentation attributes to parts of the content. CSS does not just apply to visual styling: when spoken out loud by a voice browser, CSS styling can affect speech-rate, stress, richness and even position within a stereophonic image. For these reasons, and in support of a more semantic web, attributes attached to elements within HTML should describe their semantic purpose, rather than merely their intended display properties in one particular medium. For example, the HTML in is semantically weak, whereas uses an `em` element to signify emphasis (appearing as text in italics), and introduces a more appropriate class name.

The next major development in the magnetic tape was multitrack recording, in which the tape is divided into multiple tracks parallel with each other. Because they are carried on the same medium, the tracks stay in perfect synchronization. The first development in multitracking was stereo sound, which divided the recording head into two tracks. First developed by German audio engineers ca. 1943, two-track recording was rapidly adopted for modern music in the 1950s because it enabled signals from two or more microphones to be recorded separately at the same time (while the use of several microphones to record on the same track had been common since the emergence of the electrical era in the 1920s), enabling stereophonic recordings to be made and edited conveniently.

However, beginning in 1957, films recorded in stereo (except for those shown in Cinerama or Todd-AO) carried an alternate mono track for theatres not ready or willing to re-equip for stereo. From then until about 1975, when Dolby Stereo was used for the first time in films, most motion pictures—even some from which stereophonic soundtrack albums were made, such as Zeffirelli's Romeo and Juliet—were still released in monaural sound, stereo being reserved almost exclusively for expensive musicals such as West Side Story, My Fair Lady, or Camelot; epics such as Ben-Hur or Cleopatra. Stereo was also reserved for dramas with a strong reliance on sound effects or music, such as The Graduate, with its Simon and Garfunkel score.

The Crosby system was an FM stereophonic broadcasting standard developed by Murray G. Crosby. In the United States, it competed with, and ultimately lost to, the Zenith/GE system, which the FCC chose as the standard in 1961. While both systems used multiplexing to transmit the L-R stereo signal, the Crosby system used a frequency-modulated 50 kHz subcarrier, whereas the competing Zenith/GE system used an amplitude-modulated 38 kHz subcarrier. As FM is less susceptible to interference and noise than AM, the Crosby system had better frequency response and less noise of the two systems especially under weak signal conditions. However, the Crosby system was incompatible with existing subsidiary communications authorization (SCA) services which used subcarrier frequencies including 41 and 67 kHz.

Under his Miller International Company formed in 1957, with his Essex Records office manager George Phillips, he founded Somerset Records and Somerset Stereo Fidelity Records budget albums. His greatest claim to fame was selling large amounts of cheaply priced albums, with Somerset claiming to have manufactured the first stereo budget albums. The name of Somerset high fidelity albums was suggested by Miller International's West Coast distributor, Jimmy Warren, with the name of Stereo Fidelity (stereo albums) thought of by Wally Hill to capitalize on the public's interest in both high fidelity and stereophonic sound. The economy came from Miller starting his own record factory in Swarthmore, Pennsylvania, using public domain music and non union musicians from outside the United States to record cover versions of hit songs of the time.

The crosstalk or loss of stereo separation in the front speakers was generally less than 2 dB while the rear sound level in a typical recorded live performance was about 7 dB below the front, but clearly audible. The Dynaco QD-1 Quadapter based on this idea, added a variable resistor to control the volume of the rear speakers. This passive method worked fairly well compared to the matrix decoders of the period, which attempted to reconstruct a surround sound field from a two channel recording. It has been observed that ambient sounds in a concert, such as applause or coughs from the audience, are generally received in a non-correlated phase by the stereophonic microphones, while sounds from the musicians are generally in a more or less synchronous phase.

The Waltz Queen is an LP album by Patti Page, released by Mercury Records in 1958, under catalog number MG-20049 (though some references Discography of Mercury Records MG-20000 series do not confirm this number as it was used for a Sophie Tucker album), and later MG-20318 Discography of Mercury Records MG-20300 series (monaural) and SR-60049 (stereophonic). It was reissued by Universal Records in 2007 in compact disc form under catalog number 9349. It should not be confused with an album of the same name released by Mercury's Wing Records subsidiary in 1960 under catalog numbers MGW-12121 and SRW-16121, with all different songs.See listing here The original mono of The Waltz Queen was issued under the title Waltzes Bring Memories with a different cover as MG-20049.

While doing his national service in the late 1940s March joined the Central Band of the RAF as a horn player, and enrolled at the Royal Northern College of Music, after which he was a member of the orchestras of the D'Oyly Carte and Carl Rosa Opera Companies, before joining the BBC Scottish Symphony Orchestra. In the 1950s he moved to Blackpool on the Lancashire coast, where he set up his mail-order record library, also becoming known for his talks to record clubs and gramophone societies. He was an early devotee of stereophonic recording, and wrote enthusiastically about it in Gramophone and other publications. His Gramophone colleague Martin Cullingford recalled: During the 1960s many local authorities in Britain set up lending libraries of LPs, and March was called in to advise many of them.

The earliest recording of a Vaughan Williams opera was Hugh the Drover, in an abridged version conducted by Sargent in 1924."Hugh the Drover", WorldCat, retrieved 18 October 2015 Since the 1960s there have been stereophonic recordings of Hugh the Drover, Sir John in Love, Riders to the Sea, The Poisoned Kiss, and The Pilgrim's Progress."Vaughan Williams: The Collectors' Edition", WorldCat, retrieved 18 October 2015 Most of the orchestral recordings have been by British orchestras and conductors, but notable non-British conductors who have made recordings of Vaughan Williams's works include Herbert von Karajan, Leonard Bernstein, Leopold Stokowski,March et al, pp. 1372 (Karajan), 1378 (Bernstein) and 1381 (Stokowski) and, most frequently, André Previn, who conducted the London Symphony Orchestra in the first complete stereo cycle of the symphonies, recorded between 1967 and 1972.

Faded vintage 70 mm positive film with four magnetic strips containing six-channel stereophonic sound Films formatted with a width of 70 mm have existed since the early days of the motion picture industry. The first 70 mm format film was most likely footage of the Henley Regatta, which was projected in 1896 and 1897, but may have been filmed as early as 1894. It required a specially built projector built by Herman Casler in Canastota, New York and had a ratio similar to full frame, with an aperture of by . There were also several film formats of various sizes from 50 to 68 mm which were developed from 1884 onwards, including Cinéorama (not to be confused with the entirely distinct "Cinerama" format), started in 1900 by Raoul Grimoin-Sanson.

Irving M. "Bud" Fried (November 3, 1920 – March 21, 2005), was an American audiophile of the "Golden Age" of stereophonic reproduction, along with Saul Marantz and David Hafler. As a young boy, Fried fell in love with the art and science of sound reproduction when he first heard Stokowski and the Philadelphia Orchestra emerging from the large theater horns of his father's movie theaters. Later, when Fried attended Harvard University, he fell under the sway of Professors Hunt and Pierce who, under a Western Electric research grant, were conducting monumental research into high fidelity phono reproduction. He received his undergraduate degree from Harvard University, and thereafter served as an officer in the United States Navy during World War II. Among his assignments, he was posted as liaison to the Free French Air Force.

Music-on-demand is a music distribution model conceived with the growth of two-way computing, telecommunications and the Internet in the early 1990s. Primarily, high-quality music is made available to purchase, access and play back using software on the Apple Macintosh, Microsoft Windows, set-top boxes and mobile devices from an available distribution point, such as a computer host or server located at a telephone, cable TV or wireless data center facility. In 1992, computer modem speeds were limited to less than 28 thousand bits per second (28 kbit/s), compared with uncompressed music on compact disc (CD) that required 150 thousand bytes per second. As a result, additional bandwidth is required to accommodate delivering audio at CD quality standards: 16-bit frame, 44.1 kHz sampling rate, stereophonic (two channel audio).

One of the distinctive features of the album is the use of samples between the songs. The band were keen to use linking dialogue, similar to that used on some of their favourite albums – particularly The Who Sell Out by The Who and Head by The Monkees – as well as contemporary hip hop albums that featured recurring skits. They are taken from a variety of sources, including the films Peeping Tom, Billy Liar, The Picture of Dorian Gray, Lord of the Flies and That'll Be the Day, as well as the television series The Family and the 1958 stereo demonstration album A Journey into Stereophonic Sound. The band had intended to use a number of samples from American films, but the cost of clearing these samples led them to using primarily British samples.

The film was directed by Les Clark, Eric Larson, and Wolfgang Reitherman, under the supervision of Clyde Geronimi, with additional story work by Joe Rinaldi, Winston Hibler, Bill Peet, Ted Sears, Ralph Wright, and Milt Banta. The film's musical score and songs, featuring the work of the Graunke Symphony Orchestra under the direction of George Bruns, are arrangements or adaptations of numbers from the 1890 Sleeping Beauty ballet by Pyotr Ilyich Tchaikovsky. Sleeping Beauty was the first animated film to be photographed in the Super Technirama 70 widescreen process, as well as the second full-length animated feature film to be filmed in anamorphic widescreen, following Disney's Lady and the Tramp four years earlier. The film was presented in Super Technirama 70 and 6-channel stereophonic sound in the first-run engagements.

The band also showcased the album in its entirety in a local talk-show, Fax, famous for being the first stereophonic TV transmission in Argentinian history. The album, eventually released near the end of 1992, is stylistically a shoegazing album, and was met with alienation and shock from many fans of the band, who found its radical shift in style from Canción Animal discomforting and challenging to cope with. Surrounding the band's rushed decision to change record companies from BMG to Sony immediately before the disc's release, Dynamo failed to sell as expected, and remains the lowest- selling album of Soda's career today. Despite these challenges, Soda began their sixth tour of Latin America to begin 1993, during which time Cerati officially kickstarted his solo career with the release of Amor Amarillo, his debut album.

After studying mathematics at Oxford University, Gerzon joined Oxford's Mathematical Institute working on axiomatic quantum theory, until his work in audio took him into working as a consultant. At university he already had a keen interest in both the theory and practice of recording, which he shared with a few fellow students including Peter Craven (the two were later the co-inventors of the soundfield microphone, and collaborated on many other projects). Over the next few years, this interest led to the invention of Ambisonics, which can be seen as a theoretical and practical completion of the work done by Alan Blumlein in the field of stereophonic sound. Although Ambisonics was not a commercial success, its theory underpinned much of his later work in audio such as his work with Waves Audio and Trifield.

The cassette tape on which the game was supplied also contained an audio track also titled "Confusion", which was composed by the Band Private Property (Matt Smith Lyrics, Joanne Holt/Steve Salt Music) and performed by Joanne Holt, Matt Smith, Steve Salt, Chris Weller and Gary Seaward. Rob Hubbard translated the original track into the game's soundtrack. Rob Hubbard's version of the music is mentioned in the book Bits and pieces: a history of chiptunes by Kenneth B. McAlpineKenneth B. McAlpine (2018) "Bits and pieces: a history of chiptunes", Oxford University Press, Oxford. UK. The band persuaded Incentive Software to change their audio cassette duplication process from monophonic to stereophonic, so that the music could be better appreciated (mono was fine for the computer program data which was distributed on cassette tapes in the 80s).

In the early sixties, Putnam scored a significant coup when major US record labels began to release stereophonic recordings in large numbers. According to Allen Sides, when stereo first appeared in the late 1950s, the cost-conscious major labels were initially uninterested, feeling that the market for the new format was limited, and that stereo mixdowns were a waste of time and money. Putnam however foresaw the coming importance of stereo and, at his own expense, he began making simultaneous mono and stereo mixdowns, storing away the stereo versions of these recordings, which at the time were released only in mono. When stereo took off in the early sixties, Putnam had amassed a very valuable stockpile of more than two-and-a-half years' worth of stereo recordings by scores of major acts.

The family initially lived rent free in an attic apartment at No. 3 Cheyne Walk in Chelsea, where Robert had a part-time job restoring a collection of Elizabethan-era musical instruments such as virginals, harpsichords and clavichords, that had been donated to the National Trust by Benton Fletcher. The lower floors of the building were a museum for the instruments. In late 1952, the National Trust moved the collection of keyboard instruments to Fenton House, and the family moved to Brondesbury Road, and then, in 1953, to a house they bought in Oxgate Gardens. Robert worked for the BBC as a studio manager for The Goon Show and the BBC World Service, and then for EMI, where he was involved with the development of stereophonic sound and the LP record.

A strange relic, on this program, of the dead days of ready- to-serve electronics was Mario Davidovsky's Electronic Study #3, the staring stereophonic speakers checking off once more the vocabulary of the available equipment. Continuum, performed for the first time, was diverting but too elaborately staged for full appreciation of the music composed by Mrs. Williams.” In addition to the New Dimensions in Music Concert series, Williams also initiated the Israeli Composers Plus One Concert Series during her 17 years abroad. These concert programs included music specifically written to feature audience participation; an element that had influenced her compositional works greatly. Several of her works incorporate acting, improvisation, and staging such as Shimshon Hagibor, a ‘mini comic melodrama written in 1975 (translates to Samson the Hero/the Mighty).

By the late '60s Hamilton was presenting many shows for BBC radio, including Music Through Midnight, Roundabout, Pop Inn, Radio 1 Club and shows featuring the music of Frank Chacksfield. In 1970 he joined the team of Late Night Extra and in 1973 was offered his own daily show on Radio 1 every weekday afternoon from 2pm to 5pm. A regular feature was his "Tea at Three" slot which used as its jingle based on the 1961 version (by the Syncopators) of Jack Buchanan's 1935 hit "Everything Stops For Tea" recorded for the show by Mud. In 1975 the show was simultaneously broadcast on Radio 1 and Radio 2 (listeners being able to hear the show in stereophonic sound on Radio 2's VHF frequency), giving it the biggest audience of the day.

An example is the stereophonic difference (L-R) information transmitted in stereo FM broadcasting on a 38 kHz subcarrier where a low-power signal at half the 38-kHz carrier frequency is inserted between the monaural signal frequencies (up to 15kHz) and the bottom of the stereo information sub-carrier (down to 38–15kHz, i.e. 23kHz). The receiver locally regenerates the subcarrier by doubling a special 19 kHz pilot tone. In another example, the quadrature modulation used historically for chroma information in PAL television broadcasts, the synchronising signal is a short burst of a few cycles of carrier during the "back porch" part of each scan line when no image is transmitted. But in other DSB-SC systems, the carrier may be regenerated directly from the sidebands by a Costas loop or squaring loop.

Columbia Records recorded the musical selections from the first telecast of Cinderella on March 18, 1957, nearly two weeks before the show aired, in monaural and stereophonic sound, releasing the mono version in 1957 and then the stereo version in 1958. The stereo version was later reissued on CD by Sony. The black-and-white kinescope recording made during the telecast was broadcast on PBS in December 2004 as part of its Great Performances series. It was later released on DVD with a documentary including most of its original players, as well as a kinescope of Rodgers and Hammerstein's appearance on The Ed Sullivan Show the preceding Sunday, featuring Hammerstein reciting one of the songs to orchestral accompaniment. In 1959 RCA Victor released an abridged Cinderella with Mary Martin and The Little Orchestra Society, which was released on CD in 2010 (Sepia 1144).

In a moving magnet cartridge, the stylus cantilever carries a tiny permanent magnet, which is positioned between two sets of fixed coils (in a stereophonic cartridge), forming a tiny electromagnetic generator. As the magnet vibrates in response to the stylus following the record groove, it induces a tiny current in the coils. Because the magnet is small and has little mass, and is not coupled mechanically to the generator (as in a ceramic cartridge), a properly adjusted stylus follows the groove more faithfully while requiring less tracking force (the downward pressure on the stylus). Moving iron and induced magnet types (ADC being a well-known example) have a moving piece of iron or other ferrous alloy coupled to the cantilever (instead of a magnet), while a permanent, bigger magnet is over the coils, providing the necessary magnetic flux.

While the recording industry had made magnetic tape the standard for recording music for release on vinyl, Command's albums were recorded magnetically onto 35mm film. Magnetic sound-on-film recording, using special film stock fully coated with iron oxide, had replaced optical sound-on-film recording in the 1950s when wide-screen and stereophonic sound became standard for Hollywood movies. Light used the width of the film strip to create multitrack recordings, as opposed to the more limited two or three tracks offered by most recording studios at the time; the slightly higher linear speed provided an advantage in analog fidelity and the sprocket-driven film avoided the "wow and flutter" problems associated with tape recording. This enabled Light to record more instruments individually and adjust their audio input levels, as well as their stereo position.

However, it was shown in U.S. cinemas for an extremely limited release: only two days, in contrast to the customary and lengthy months-long engagements enjoyed by most roadshow films. The same was true of the Richard Burton Hamlet, which was presented in the same type of extremely limited engagement as Othello. Filmed over two days in a quickie black-and-white process called Electronovision, which resembled a 1960s videotaped broadcast, this three hours plus production featured none of the epic features that were a standard of roadshow theatrical release - no impressive scenery, no gorgeous color, no beautiful costumes, or stereophonic sound, only an intermission halfway through the performance. It was not even, strictly speaking, a full-scale film version of the play, but merely a visual recording of a performance of it at the Lunt-Fontanne Theatre, with a live audience.

In 1982, RCA began issuing a series of budget priced Victrola audio cassettes, retailing for $2.99 each; some of these titles were reissues of previous Victrola LPs, while others were new releases. Beginning in the late 1980s, RCA issued a new CD and cassette series on the Victrola label consisting of stereo recordings of mostly standard symphonic and instrumental works drawn from former Red Seal issues. The RCA "Papillon Collection" and RCA Victor Silver Seal, both fairly short- lived labels, also offered low priced CD and cassette reissues of stereophonic Red Seal recordings of the standard classical repertoire. The Victrola label was eventually replaced by RCA Victor Gold Seal, which continued with digitally remastered historic performances, including the complete Toscanini recordings released by RCA Victor and the complete Rachmaninoff recordings issued by Edison Records and RCA Victor.

As a composer, notable spatial-acoustic works with unusual architecture include stereophonic sound mural “Doppler Dreams” for seven sopranos on bicycles in Brooklyn’s , empty McCarren Pool for the site-specific dance piece Agora II, and created and performed the multi-speaker live sound score for the aerial dance piece Rapture, reverberated off the dynamic curves of Frank Gehry’s Fisher Center (Bard College) as part of a collaboration with award-winning choreographer Noémie Lafrance. Choral commission "Semaphore Conductus" created for the Young People's Chorus of New York City is inspired by the conduction of energy, signals, and the evolution of communication devices (conch, gramophone, megaphone, cell phones) over the centuries. This is sung in surround-sound, creating an activated sound field for the audience, and lives between the space of a choral performance work, and sound installation.

Kaper also scored Caron's next film, The Glass Slipper, a musical adaptation of the fairy tale Cinderella. In 1959, Kaper composed most of the music for MGM's production of Green Mansions with Audrey Hepburn and Anthony Perkins, after MGM had asked Brazilian composer Heitor Villa-Lobos to write the score. Only some of Villa-Lobos' music was used in the film; much of the rest was later arranged as the secular cantata Forest of the Amazons, which Villa-Lobos recorded in stereophonic sound for United Artists Records with the Symphony of the Air. One of Kaper's last projects under his MGM contract was also his most ambitious: the big-budget 1962 remake of Mutiny on the Bounty starring Marlon Brando, for which he wrote epic seafaring melodies as well as native Polynesian music (Nominated for Academy Award for Best Musical Score).

On October 1990, the second stereophonic radio station of RAI, RaiStereoDue, aired the first two tracks of the album one month before the official release. On the following 4 November, Claudio Baglioni had a serious car accident with his Porsche, having injuries on his hands and face, including the tongue. Medical bulletins confirmed later that the surgery would not hinder his musical career.. On 15 November, Baglioni was the only guest of Maurizio Costanzo Show on Canale 5, publicly appearing for the first time after the incident. On 17 November 1990, after three years since its announcement, the album was finally released in Italy with the title Oltre - un mondo uomo sotto un cielo mago was finally released in Italy and in 1991 the album was sold in all Europe (mainly in Spain, France and Germany) and America (Northern and Southern).

The need for a center speaker to locate screen-centered sounds has been recognised since the Bell labs experiments in stereo sound from the 1930s, and multi- channel cinema sound systems, starting with the first commercial stereophonic film (Fantasia-1941) have always included one. Post-war stereo sound in theaters initially came from separate magnetic film reproducers synchronised to the picture, but in the 1950s systems using magnetic stripes on the film itself came into use. Cinemascope used four such tracks (left, center, right and surround), and the subsequent Todd-AO 70mm system used six (left, left- center, center, right-center and right, plus a single surround channel). Unfortunately these magnetic systems were not only very expensive, but were also unreliable and so were little used, the industry preferring to stay with the tried, tested (and cheap) mono optical track.

In 1957 the number of applications for FM licenses increased for the first time in almost a decade, primarily in smaller markets that had run out of space for new television or AM channels. In larger markets, the proliferation of AM stations had led the FCC to restrict many of the newer ones to daytime-only to avoid interference; since the FCC did not require that restriction for FM radio, it was a logical place for broadcasters to go. The increasing popularity of stereophonic recordings also helped FM's growth. In 1952, New York City-area classical music station WQXR had hit on the idea of simulcasting on its AM and FM stations, with each carrying a different channel, so listeners could use two radios to create a stereo experience; other stations, mostly classical and jazz, followed the practice.

The LPs were labelled as being played by 'Leopold Stokowski and His Symphony Orchestra' and the repertoire ranged from Haydn (his Imperial Symphony) to Schoenberg (Transfigured Night) by way of Schumann, Liszt, Bizet, Wagner, Tchaikovsky, Debussy, Ralph Vaughan Williams, Sibelius and Percy Grainger. His Capitol recordings in the 1950s were distinguished by the use of three-track stereophonic tape recorders. Stokowski was very careful in the placement of musicians during the recording sessions and consulted with the recording staff to achieve the best possible results. Some of the sessions took place in the ballroom of the Riverside Plaza Hotel in New York City in January and February 1957; these were produced by Richard C. Jones and engineered by Frank Abbey with Stokowski's own orchestra, which was typically drawn from New York musicians (primarily members of the Symphony of the Air).

The recording session of Fit the Seventh at the BBC's Paris Theatre recording studio; from left David Tate, Alan Ford, Geoffrey McGivern, Douglas Adams, Mark Wing-Davey, Simon Jones One of Adams's stated goals was to be experimental in the use of sound. Being a fan of Pink Floyd and the Beatles, and especially the experimental concept albums both bands produced in the late 1960s and early 1970s, Adams wanted the programme to have the feel of a "rock album ... to convey the idea that you actually were on a spaceship or an alien planet—that sense of a huge aural landscape".Simpson, Hitchhiker, 108–109 The first series was therefore the first BBC radio comedy to use stereophonic techniques. Adams later said that before Hitchhiker's, stereo was deemed impossible for radio comedy and after it was made compulsory.Adams.

Inspired by Cinerama, the movie industry moved quickly to create simpler and cheaper widescreen systems, the first of which, Todd-AO, was developed by Broadway promoter Michael Todd with financial backing from Rodgers and Hammerstein, to use a single 70mm film running at 30 frames per second with 6 magnetic sound tracks, for their screen presentation of "Oklahoma!". Major Hollywood studios immediately rushed to create their own unique formats, such as Warner Bros. Panavision, Paramount Pictures' VistaVision and Twentieth Century-Fox Film Corporation's CinemaScope, the latter of which used up to four separate magnetic sound tracks. VistaVision took a simplified, low-cost approach to stereophonic sound; its Perspecta system featured only a monaural track, but through subaudible tones, it could change the direction of the sound to come from the left, right or both directions at once.

Because of the standard 35 mm-size film, CinemaScope and its stereophonic sound was capable of being retrofitted into existing theaters. CinemaScope 55 was created by the same company in order to use a larger form of the system (55 mm instead of 35 mm) to allow for greater image clarity onscreen, and was supposed to have had 6-track stereo instead of four. However, because the film needed a new, specially designed projector, the system proved impractical, and the two films made in the process, Carousel and The King and I, were released in 35 mm CinemaScope reduction prints. To compensate, the premiere engagement of Carousel used a six-track magnetic full-coat in an interlock, and a 1961 re-release of The King and I, featured the film "printed down" to 70 mm, used a six-track stereo soundtrack as well.

Spatial Sound Encoding Including Near Field Effect: Introducing Distance Coding Filters and a Viable, New Ambisonic Format Some years ago it was shown that, in the limit, WFS and Ambisonics converge. Finally, surround sound can also be achieved by mastering level, from stereophonic sources as with Penteo, which uses Digital Signal Processing analysis of a stereo recording to parse out individual sounds to component panorama positions, then positions them, accordingly, into a five-channel field. However, there are more ways to create surround sound out of stereo, for instance with the routines based on QS and SQ for encoding Quad sound, where instruments were divided over 4 speakers in the studio. This way of creating surround with software routines is normally referred to as "upmixing", which was particularly successful on the Sansui QSD-series decoders that had a mode where it mapped the L ↔ R stereo onto an ∩ arc.

There have been some spoken word albums over the past 15 years or so recorded specifically for compact disk; these have often been combined with classical music. Among them are the Naxos audiobooks, as well as a Chandos Records series of albums which combine the music William Walton wrote for several Shakespeare production (including the Olivier film adaptations), with readings from the author performed by such actors as John Gielgud and Christopher Plummer. There is also a Hyperion Records stereophonic re-creation of Ralph Vaughan Williams' 1942 radio play adaptation of The Pilgrim's Progress, again with Gielgud. Excerpts from Gielgud's Grammy-winning one-man Shakespeare production Ages of Man (1959), once available on LP, are now available as a manufactured-on-demand CD. Today, such websites as BBC, L.A. Theatre Works, The Hollywood Theater of the Ear, and ZBS offer full- length recordings on CD of their dramatic productions.

'The Top Box-Office Hits of 1955', Variety Weekly, January 25, 1956 Lady is significant as Disney's first widescreen animated feature, produced in the CinemaScope process, and was the first Disney animated feature to be released by Disney's own distribution company, Buena Vista Distribution. By the mid-1950s, with Walt Disney's attention primarily set on new endeavours such as live-action films, television, and the Disneyland theme park, production of the animated films was left primarily in the hands of the "Nine Old Men" trust of head animators and directors. This led to several delays in approvals during the production of Sleeping Beauty, which was finally released in 1959. At $6 million, it was Disney's most expensive film to date, produced in a heavily stylized art style devised by artist Eyvind Earle and presented in large-format Super Technirama 70 with six-track stereophonic sound.

The year 1974 saw the release of his first stereophonic Long Play (LP) record, which comprised 14 songs of Tagore, 7 each from 'Puja' (Devotional) and 'Prem' (Love) category. He founded a musical institution in Kolkata named 'Rabi Rashmi' where students learned Rabindrasangeet under his tutelage. 'Rabi Rashmi' was extremely popular in its times and was also known for its regular performance of various concerts like 'Shraban Sandhya (An Evening of Shravana)', 'Shapmochan (Tagore's Opera)’, 'Rituranga (Seasons' Varieties)', 'Gaaner Jharnatalay (Under the Fountain of Songs)', 'Swadeshi Neye Bideshi Kheya (Tagore's Songs from Western Tunes)', 'Bishwajana Mohichhey (The World is Spellbound)' organised at prestigious venues in Kolkata like Rabindra Sadan, Sisir Mancha and Kala Mandir . Such concerts were organised by Sagar Sen and performed by his students as well as himself and other famous artistes like Hemanta Mukhopadhyay, Chinmoy Chattopadhyay, Suchitra Mitra and Bani Thakur.

All songs by George Gershwin (music) and Ira Gershwin (lyrics) except where noted # "Treat Me Rough" - June Allyson, Mickey Rooney and chorus with Tommy Dorsey's orchestra # "Bidin' My Time" - Judy Garland, The King's Men # "Could You Use Me?" - Mickey Rooney and Judy Garland # "Happy Birthday Ginger" (written by Roger Edens) # "Embraceable You" - Rags Ragland and chorus, Judy Garland and chorus, Charles Walters (dancer with Garland) # "Fascinating Rhythm" - Tommy Dorsey's orchestra # "But Not For Me" - Rags Ragland with vocal by Judy Garland # "I Got Rhythm" - Judy Garland, Mickey Rooney and chorus with Tommy Dorsey's orchestra Choreography for the musical numbers is by Jack Donahue, with Charles Walters responsible for "Embraceable You". An additional production number, "Bronco Busters", which was sung by Garland, Rooney and Nancy Walker, was cut from the film. The musical numbers were recorded in stereophonic sound but mixed into mono for release to theaters.

The collaboration led to the development of Fantasound, a pioneering stereophonic surround sound system which innovated some processes widely used today, including simultaneous multitrack recording, overdubbing, and noise reduction. Fantasound, developed in part by Disney engineer William Garity, employed two projectors running at the same time. With one containing the picture film with a mono soundtrack for backup purposes, the other ran a sound film that was mixed from the nine tracks recorded at the Academy to four: three of which contained the audio for the left, center, and right stage speakers respectively, while the fourth became a control track with amplitude and frequency tones that drove variable-gain amplifiers to control the volume of the three audio tracks. In addition were three "house" speakers placed on the left, right, and center of the auditorium that derived from the left and right stage channels which acted as surround channels.

There were some notable exceptions to the standard roadshow release format, three of them Shakespeare productions. One was Othello (1965), which was essentially a filmed visual record of the already famous Laurence Olivier 1964 London stage production, shot in a movie studio, but on enlarged stage settings. The nearly three-hour color film, made in Panavision and shown in 35MM and mono sound in many areas, was shown in 70MM and six-track stereophonic sound in exactly one engagement - in London in 1966, Being a film that lay somewhere between a photographed play and a true motion picture, the film did not make sufficient use of the spectacular vistas that 1960s widescreen epics usually boasted. In addition, while it had no overture, entr'acte music, or exit music, it was still shown on a two-performance-a-day basis with an intermission, as nearly all roadshow releases were.

Boy and toy record player, 1920s After electrical disc-playing machines appeared on the market in the late 1920s, often combined with a radio receiver, the term "record player" was increasingly favored by the public. Manufacturers, however, typically advertised such combinations as "radio- phonographs". Portable record players (no radio included), with a latched cover and an integrated power amplifier and loudspeaker, were becoming popular as well, especially in schools and for use by children and teenagers. In the years following the Second World War, as "hi-fi" (high-fidelity, monophonic) and, later, "stereo" (stereophonic) component sound systems slowly evolved from an exotic specialty item into a common feature of American homes, the description of the record-spinning component as a "record changer" (which could automatically play through a stacked series of discs) or a "turntable" (which could hold only one disc at a time) entered common usage.

It's also characterized for having less commercials per hour than any other local station with a programming based only on music 24 hours, 7 days a week, except Saturdays (Sundays repeated) were there is a live Top 20 Countdown involving interviews to artists, presenting the top 20 best music of the week, and local/international news on artists such as gossips. Crucifix closeup and 104.7 radio station in Puerto Rico Also the branding "LA PRIMERA" means that WKAQ-FM was the first FM assigned frequency to San Juan and the second radio station established in the island on October 8, 1958, followed by Rio Piedras's WFID on November of the same year. However, WKAQ-FM became more notorious in 1968 when they started its format of popular music with the logo "LA ESTACIÓN DE LAS ESTRELLAS" and "ESTRELLAS EN ESTÉREO" making noticeable their Stereophonic sound.

The sound film had four double-width optical soundtracks, three for left, center, and right audio—and a fourth as a "control" track with three recorded tones that controlled the playback volume of the three audio channels. Because of the complex equipment this system required, Disney exhibited the movie as a roadshow, and only in the United States. Regular releases of the movie used standard mono optical 35 mm stock until 1956, when Disney released the film with a stereo soundtrack that used the "Cinemascope" four-track magnetic sound system. German audio engineers working on magnetic tape developed stereo recording by 1941, even though a 2-track push-pull monaural technique existed in 1939. Of 250 stereophonic recordings made during WW2, only three survive: Beethoven's 5th Piano Concerto with Walter Gieseking and Arthur Rother, a Brahms Serenade, and the last movement of Bruckner's 8th Symphony with Von Karajan.

Today, virtually all films are released in stereophonic sound as the Westrex Stereo Variable-Area system developed in 1977 for Star Wars, which was no more expensive to manufacture in stereo than it was for mono. The format employs the same Western Electric/Westrex/Nuoptix RA-1231 recorder, and coupled with QS quadraphonic matrixing technology licensed to Dolby Labs from Sansui, this SVA system can produce the same Left, Center, Right and Surround sound of the original CinemaScope system of 1953 by using a single standard- width optical track. This important development finally brought stereo sound to so-called "flat" (non-anamorphic) widescreen films, most commonly projected at aspect ratios of 1.75:1 or 1.85:1. Producers often took advantage of the six magnetic soundtracks available for 70mm film release prints, and productions shot in either 65MM or to save money, in 35MM and then blown up to 70MM.

Among Edison Studio's productions: Zarbing CD, published by CNI Unite, featuring the Persian percussionist Mahammad Ghavi-Helm and the live cinema concerts for the following silent films: The Last Days of Pompeii, Blackmail by Alfred Hitchcock, En Dirigeable sur le Champs de Bataille, L'Inferno, The Cabinet of Dr. Caligari by Robert Wiene and Battleship Potemkin by Sergei Eisenstein. The latter 3 soundtracks have been published on DVD by Cineteca di Bologna, in 2011, 2016 and 2017 in 5.1 surround sound and Stereophonic sound versions in Il Cinema Ritrovato series. The soundtracks by Edison Studio for silent films involve voices and environmental sounds in the music. Their sonic re-interpretations of those silent cinema masterpieces attracted the attention of several cinema experts such as Sergio Miceli and Giulio Latini and other university professors who wrote articles included in the book about the soundtracks by Edison Studio, which was published by Exorma with the support of the Roma Tre University.

Some television stations and cable channels that have broadcast imitations of The Yule Log simulcast the Christmas music from a radio station that is playing it, and before 1989, the WPIX version also secondarily promoted the playing of the same Christmas music in a simulcast over its sister FM station, WPIX-FM (101.9), for those unable to view The Yule Log on television (or for those who wanted to listen to the broadcast in stereo, as stereophonic sound was not standard in television, nor were most television sets equipped with high quality sound systems, until the 1990s). Other television stations (and cable channels) have spawned imitations. Fellow Tribune station WDCW (then WBDC) in Washington, D.C. has produced its own version, filming a log burning at Colonial Williamsburg. In the 2000s, Jason Patton — an executive at INHD (later MOJO HD, now defunct), who was inspired as a youth by WPIX's Yule Log — produced his own version, which has been broadcast every Christmas since, via video on demand.

The multi-tracks for Shut Down Volume 2 went missing shortly after the album's release. In 2009, three reels of session outtakes were unexpectedly retrieved with the help of biographer Jon Stebbins, thanks to a fan who had found and kept the tapes untouched for years. New stereophonic mixes were created by producers Mark Linett and Alan Boyd for the compilation Summer Love Songs, which includes an alternate version of "Why Do Fools Fall in Love" featuring a never-before-heard unused intro section as well as a new stereo mix of "Don't Worry Baby". With these reels, new stereo mixes of "Fun, Fun, Fun", "The Warmth of the Sun" and "Pom Pom Play Girl" were also created in 2013; the first two of these three appearing along with the aforementioned remixed songs on the Made in California boxset, and all five remixes surfacing on the Keep an Eye on Summer - The Beach Boys Sessions 1964 boxset in 2014, which featured select session highlights from these reels.

Chávez made more than a handful of recordings, conducting his own music as well as that of other composers. One of the earliest was made in the 1930s for Victor, containing Chávez's Sinfonía de Antígona and Sinfonía india, together with his orchestration of Dietrich Buxtehude's Chaconne in E minor: 4-disc 78-rpm set, Victor Musical Masterpiece Series, Victor Red Seal M 503 (manual sequence) and DM 503 (automatic sequence). The best-known of his discs was the Everest Records stereophonic recording of his Sinfonía India, Sinfonía de Antígona, and Sinfonía Romántica, in which Chávez conducted the Stadium Symphony Orchestra, the name given to the New York Philharmonic Orchestra for its summer performances in the Lewisohn Stadium. The album was originally issued in 1959 by Everest Records on LP SDBR 3029, and was reissued on CD in 1996 by Everest as EVC-9041, as well as at some point by Philips Records.

It was followed by hits with Mark Wynter; plus Rhet Stoller's "Chariot", which reached #26 in the UK. Wharton gave much needed work to jazz musicians, at a time when they were out of fashion and struggling to find work, by producing a pioneering stereophonic album, Sweet Wide and Blue, with Stan Tracy (Piano), Victor Feldman (vibes), Lenny Bush (bass), Tony Crombie (drums) and others. He also recorded albums and singles with Mantovani, Winifred Atwell, and several other Decca labelmates before leaving Decca, disillusioned, and finally outraged when he was not allowed to produce "Portrait of My Love" with Matt Monro due to 'office politics'. The song was thereafter released by Parlophone and peaked at #3 in the UK chart. He returned to acting and travelled to South Africa to visit Mickie Most who he helped and encouraged to produce his own records, and taught to handle a mixing desk in the studios there.

Stereotyped blackface characters developed: buffoonish, lazy, superstitious, cowardly, and lascivious characters, who stole, lied pathologically, and mangled the English language. Early blackface minstrels were all male, so cross-dressing white men also played black women who were often portrayed as unappealingly and grotesquely mannish, in the matronly mammy mold, or as highly sexually provocative. The 1830s American stage, where blackface first rose to prominence, featured similarly comic stereotypes of the clever Yankee and the larger-than-life Frontiersman; the late 19th- and early 20th-century American and British stage where it last prospered featured many other, mostly ethnically-based, comic stereotypes: conniving, venal Jews;Jody Rosen (2006), album notes to Jewface, Reboot Stereophonic CD RSR006 drunken brawling Irishmen with blarney at the ready;Michael C. O'Neill, O'Neill's Ireland: Old Sod or Blarney Bog? , Laconics (eOneill.com), 2006. Accessed online February 2, 2008.Pat, Paddy and Teague , The Independent (London), January 2, 1996. Accessed online (at findarticles.

The pageant traces its roots back to the early 1920s and the "Cumorah Conference" of the Eastern States Mission, which was held each year annually in late July. Mission president B. H. Roberts would take some of his missionaries from New York City and travel to Palmyra and the recently acquired Smith Family Farm to celebrate Pioneer Day, acting out scenes from the Book of Mormon and LDS Church history as part of the commemoration. Over the next decade, the conference grew in duration and scale, and New York University English professor H. Wayne Driggs wrote the script America's Witness for Christ for the first official performance of the Hill Cumorah Pageant, which premiered on July 23, 1937. The pageant advanced technologically over the next few decades, with stereophonic sound inventor Harvey Fletcher designing, building, and installing a five-track recording system; and Crawford Gates composing an original score for the pageant, which was recorded by the Mormon Tabernacle Choir and the Utah Symphony Orchestra in 1957.

Ambiophonics is a method in the public domain that employs digital signal processing (DSP) and two loudspeakers directly in front of the listener in order to improve reproduction of stereophonic and 5.1 surround sound for music, movies, and games in home theaters, gaming PCs, workstations, or studio monitoring applications. First implemented using mechanical means in 1986,Bock, T.M. and Keele, D.B. Jr., “The Effects of Interaural Crosstalk on Stereo Reproduction. and Minimizing Interaural Crosstalk in Nearfield Monitoring by the Use of a Physical Barrier,” AES Preprints 2420-A and 2420-B November 1986Glasgal, Ralph, “The Domestic Concert Hall,” Stereophile (magazine), July 1988 today a number of hardware and VST plug-in makers offer Ambiophonic DSP.Robert E. (Robin) Miller III, "User Guide to VST plug-in Ambiophonic DSP," www.filmaker.com Ambiophonics eliminates crosstalk inherent in the conventional “stereo triangle” speaker placement, and thereby generates a speaker-binaural soundfield that emulates headphone-binaural sound, and creates for the listener improved perception of “reality” of recorded auditory scenes.

Gramophone era logo London arose from the split in ownership between the British and American branches of Decca Records. The American branch of London Records released British Decca records in the U.S. since British Decca could not use the "Decca" name there. The label was noted for classical albums made in then state-of-the-art stereophonic sound, and such artists as Georg Solti, Joan Sutherland and Luciano Pavarotti. The London name was also used by British Decca in the UK market for releases taken from American labels which British Decca licensed, such as Imperial, Chess, Dot, Atlantic, Specialty, Essex and Sun, and the first two UK releases from Motown. By the 1960s more licensing deals had been made with Big Top, Monument, Parrot, Philles, and Hi, and subsidiary labels were London Atlantic, London Dot and London Monument (the last featuring Roy Orbison, who remained with London in the UK even after he signed for MGM Records in the U.S.).

In a BBC white paper published in January 1963, the authors explored two-channel stereophony, and remarked that it was at a disadvantage compared with multi-channel stereophony that was already available in cinemas in that "the full intended effects is apparent only to observers located within in a restricted area in front of the loudspeakers". The authors expressed reservations about dispersion and directionality in 2-channel systems, noting that the "face-to-face listening arrangement" was not able to give an acceptable presentation for a centrally-located observer in a domestic setting."The Influence of Loudspeaker Directivity and Orientation on the Effective Audience Area in Two-Channel Stereophonic Reproduction", BBC Engineering Division, January 1963. The paper concluded: > The achievement of suitable directional characteristics within the aesthetic > and economic limitations applying to domestic equipment will however require > a much greater research effort than either the corporation or the radio > industry have so far been able to devote to the subject.

These processes could give theatergoers an experience that television could not at that time—color, stereophonic sound and panoramic vision. Before the end of the year, 20th Century Fox had narrowly "won" a race to obtain an anamorphic optical system invented by Henri Chrétien, and soon began promoting the Cinemascope technology as early as the production phase. Looking for a similar alternative, other major studios hit upon a simpler, less expensive solution by April 1953: the camera and projector used conventional spherical lenses (rather than much more expensive anamorphic lenses), but by using a removable aperture plate in the film projector gate, the top and bottom of the frame could be cropped to create a wider aspect ratio. Paramount Studios began this trend with their aspect ratio of 1.66:1, first used in Shane, which was originally shot for Academy ratio. It was Universal Studios, however, with their May release of Thunder Bay that introduced the now standard 1.85:1 format to American audiences and brought attention to the industry the capability and low cost of equipping theaters for this transition.

Tubular Bells marked the first release for the newly founded Virgin Records and was assigned the catalogue number V2001, although Gong's Flying Teapot (catalogue number V2002) and the compilation Manor Live (catalogue number V2003) were released on the same date. The back cover of the album includes the humorous statement "In Glorious Stereophonic Sound: Can also be played on mono equipment at a pinch" and the tongue-in-cheek warning "This stereo record cannot be played on old tin boxes no matter what they are fitted with. If you are in possession of such equipment please hand it into the nearest police station." There are five known variations of the vinyl edition of Tubular Bells: # The standard stereo black vinyl version catalogue number V2001 (white label with twins image or green label with twins image and 25.00 running time on side one). This mix was reissued on vinyl as part of the Back to Black series in 2009. # A stereo black vinyl version catalogue number VR 13–105 (white label with color twins image).

The film starred Robert Stack, Barbara Britton and Nigel Bruce. James Mage was an early pioneer in the 3D craze. Using his 16 mm 3D Bolex system, he premiered his Triorama program in February 1953 with his four shorts: Sunday In Stereo, Indian Summer, American Life, and This is Bolex Stereo."Just Like 1927." BoxOffice 7 February 1953: 12. 1953 saw two groundbreaking features in 3D: Columbia's Man in the Dark and Warner Bros. House of Wax, the first 3D feature with stereophonic sound. For many years, most 3-D movies were shown in amusement parks and even "4-D" techniques have been used when certain effects such as spraying of water, movement of seats, and other effects are used to simulate actions seen on the screen. The first decline in the theatrical 3D craze started in August and September 1953. In 2009, movie exhibitors became more interested in 3D film. The number of 3D screens in theaters is increasing. The RealD company expects 15,000 screens worldwide in 2010.

Tchad Blake (born 1955) is an American record producer, audio engineer, mixer and musician. A native of Baytown, Texas, he has worked with numerous artists and musicians, including Arctic Monkeys, State Radio, Pell Mell, Apartment 26, Elvis Costello, Peter Gabriel, Pearl Jam, Tom Waits, Richard Thompson, Brazilian Girls, Gerard Way, Sheryl Crow, November 2nd, T-Bone Burnett, Travis, Marike Jager, Crowded House, Finn Brothers, Liam Finn, The Pretenders, Bernard Fanning, Los Lobos, The Bad Plus, Sam Phillips, Suzanne Vega, Ani DiFranco, The Bangles, Stina Nordenstam, Phish, Bonnie Raitt, Lisa Germano, Fishbone, Al Green, Tracy Chapman, Phantom Planet, Gomez, The Dandy Warhols, American Music Club, Jed Davis, Blitzen Trapper, Cibo Matto, Haley Bonar, David Rhodes, Fiona Apple, Tom Gallo, The Black Keys, U2, Nico Vega, Halloween, Alaska, Kula Shaker and Soul Coughing, and Delta Spirit, The Last Shadow Puppets among others. Blake often partners with Mitchell Froom, and the two formed Latin Playboys with David Hidalgo and Louie Pérez of Los Lobos. Blake is known for his use of binaural recording, an experimental recording technique which employs two microphones to create a 3-D stereophonic sound.

The station was sold in the early 1970s and is now WUSN. Zenith also pioneered in the development of high-contrast and flat-face picture tubes, and the multichannel television sound (MTS) stereo system used on analog television broadcasts in the United States and Canada (as opposed to the BBC-developed NICAM digital stereo sound system for analog television broadcasts, used in many places around the world.) Zenith was also one of the first companies to introduce a digital HDTV system implementation, parts of which were included in the ATSC standard starting with the 1993 model Grand Alliance. They were also one of the first American manufacturers to market a home VCR, selling a Sony-built Betamax video recorder starting in 1977. The 1962 Illinois Manufacturers Directory (50th Anniversary edition) lists Zenith Radio Corporation as having a total of 11,000 employees of which at least 6,460 were employed in seven Chicago plants. The corporate office was in plant number 1 located at 6001 West Dickens Avenue (north of the Chicago, Milwaukee, St. Paul and Pacific railroad tracks) where 2,500 workers made radio and television sets and Hi-Fi stereophonic phonographs.

The advent of multitrack magnetic tape and film recording made high fidelity synchronized multichannel recording more technically straightforward, though costly. By the early 1950s, all of the major studios were recording on 35mm magnetic film for mixing purposes, and many of these so-called individual angles still survive, allowing for soundtracks to be remixed into Stereo or even Surround. In April 1953, while This is Cinerama was still playing only in New York City, most moviegoing audiences heard stereophonic sound for the first time with House of Wax, an early 3-D film starring Vincent Price and produced by Warner Bros. Unlike the 4-track mag release-print stereo films of the period which featured four thin strips of magnetic material running down the length of the film, inside and outside the sprocket holes, the sound system developed for House of Wax, dubbed WarnerPhonic, was a combination of a 35 mm fully coated magnetic film that contained the audio tracks for Left-Center-Right, interlocked with the two dual-strip Polaroid system projectors, one of which carried a mono optical surround track and one that carried a mono backup track, should anything go wrong.

The video consists of footage from Joe Kittinger's famous parachute jump from 19.5 miles' (31.4 km) altitude, and later slow-motion footage of big-wave surfer Laird Hamilton. The video was directed by Melissa Olson. The album received generally positive reviews, receiving a rating of 79 out of 100 on aggregate website Metacritic. Mark Richardson of Pitchfork noted that the group's use of guitars "makes explicit something about the band's sound that was always just beneath the surface: the connection of the music to the pastoral tradition of British folk," but noted that "the best thing Campfire Headphase has going is its unnamable synthesizer sounds," and concluded that its "blissed-out narcotic interludes don't come quite often enough, though, and in fact this feels like a step down from the last two albums." Simon Reynolds of The Observer wrote that “blurring the boundaries between rock and techno is a smart move, because BoC have always made music that deserved to appeal beyond the electronic audience,” and praised “the stereophonic delirium of their production.” In December 2005, American webzine Somewhere Cold ranked The Campfire Headphase No. 2 on their 2005 Somewhere Cold Awards Hall of Fame list.

Why did they pick Robbinsdale as the location for the breathtaking Terrace? Most important, said Sidney, is the fact that it is adjacent to a large growing community. The Volk brothers planned the theater to serve all of the metropolitan area of the Twin Cities... One of the highest honors possible was bestowed upon the theater in 1952 when the Volk brothers received the international award for having the outstanding theater in United States that year. Covering 10 acres including parking lots and space not yet put to use, this theater also boasts the largest seating capacity of any suburban theater and the largest parking facilities... First-rate movies appear at the Terrace as early as possible, in other words, when they leave the downtown theaters. The Terrace can always boast that they are showing one of the top 10 films. The longest run enjoyed by any one film was for 11 days. The average showing is 4 days to a week, depending on public demand... Long range plans call for landscaping of the hollow behind the theater potentially including a lagoon.” Over the years necessary improvements were made. The theater installed a wide CinemaScope screen with stereophonic sound in January 1954.

Motion picture theatres, however, are where the real introduction of stereophonic sound to the public occurred. Amid great fanfare, Stereo sound was officially proven commercially viable for the public on September 30, 1952 with the release of a Cinerama demonstration film by Lowell Thomas and Mike Todd titled This is Cinerama. The format was a spectacular widescreen process featuring three separate 35mm motion picture films (plus a separate sound film) running in synchronization with one another at 26 fps, adding one picture panel each to the viewer's left and right at 45-degree angles, in addition to the usual front and center panel, creating a truly immersive panoramic visual experience, comparable in some ways to today's curved screen IMAX OMNI. Similarly, the Cinerama audio soundtrack technology, developed by Hazard E. Reeves, a pioneer in magnetic recording, utilized seven discrete sound tracks on full-coat magnetic 35mm film, in order to envelop the theatregoer in an aural experience just as spectacular as that playing on the screen: five main channels behind the screen, two surround channels in the rear of the theater, plus a sync-track to interlock the 4 machines, which were specially outfitted with aircraft servo-motors made by Ampex.