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Biden laughs off question about North Korean missile test. While there is some debate around whether higher is better, the best position for most people is eye level, not looking up. Think about it: No one sits in the front rows of a movie theater because looking up at the screen is a strain on the neck and eyes.
This height is going to be where the center of your TV should be, not the top or bottom edges. Alternately, a good general height, according to Samsung , is inches from the floor, which is roughly eye level for someone who is 5-foot 6-inches tall. Then, have a seat and stare for a minute or The size of your TV is also going to play a small factor, as the height of the TV measured from the top edge to the bottom divided in half is going to be the center.
For example, if your ideal eye-level height is 40 inches and you have a cabinet that stands 20 inches, subtract the cabinet height from your eye-level height, which will give you 20 inches. Then, take the height of your TV, say 32 inches, and divide that in half 16 inches to get the distance between the center and the bottom edge of your TV.
To help you decide what is right for you, you can check out our handy interactive guide , but a general rule of thumb is to measure the distance from your seat to your television in inches and multiply by 0.
This should give you the best screen size range. If you have your heart set on a screen size already, however, there are several viewing distance calculators that show you the ideal sitting distance you need based on the TV size. When choosing a wall color to go behind your TV, just as you would when painting otherwise, take into consideration colors that will work best with the room.
Painting with lighter, natural colors beige, ivory, cream , for example, will not only make your room look bigger but will make the TV stand out on the wall. Electric stud finders are tricky little tools. They can be one of the most helpful gadgets in the box or the reason you put a dozen extra holes in the wall. Here are four tips that help ensure they never trick you again. You found the perfect spot to mount a TV in your home.
Nothing ruins the look of a nice television mounted on the wall quicker than a tangle of exposed wires. Luckily, hiding cables inside the wall is fairly cheap and easy.
The simplest way to achieve this is with an IWPE in-wall power extension or a power relocation kit. These kits come with everything you need to run power up to your TV while hiding all of your signal wires some even come with a cutting tool. Cros's paleophone was intended to both record and reproduce sound but had not been developed beyond a basic concept at the time of Edison's successful demonstration of the Phonograph in In this device, sound waves travelling through the air vibrated a parchment diaphragm which was linked to a bristle, and the bristle traced a line through a thin coating of soot on a sheet of paper wrapped around a rotating cylinder.
The sound vibrations were recorded as undulations or other irregularities in the traced line. Scott's phonautograph was intended purely for the visual study and analysis of the tracings.
Reproduction of the recorded sound was not possible with the original phonautograph. In , phonautograph recordings made by Scott were played back as sound by American audio historians, who used optical scanning and computer processing to convert the traced waveforms into digital audio files. These recordings, made circa , include fragments of two French songs and a recitation in Italian.
Charles Cros , a French poet and amateur scientist, is the first person known to have made the conceptual leap from recording sound as a traced line to the theoretical possibility of reproducing the sound from the tracing and then to devising a definite method for accomplishing the reproduction.
On April 30, , he deposited a sealed envelope containing a summary of his ideas with the French Academy of Sciences , a standard procedure used by scientists and inventors to establish priority of conception of unpublished ideas in the event of any later dispute. Cros proposed the use of photoengraving , a process already in use to make metal printing plates from line drawings, to convert an insubstantial phonautograph tracing in soot into a groove or ridge on a metal disc or cylinder.
This metal surface would then be given the same motion and speed as the original recording surface. A stylus linked to a diaphragm would be made to ride in the groove or on the ridge so that the stylus would be moved back and forth in accordance with the recorded vibrations.
It would transmit these vibrations to the connected diaphragm, and the diaphragm would transmit them to the air. An account of his invention was Digital Tape Measure Reviews Uk University published on October 10, , by which date Cros had devised a more direct procedure: the recording stylus could scribe its tracing through a thin coating of acid-resistant material on a metal surface and the surface could then be etched in an acid bath, producing the desired groove without the complication of an intermediate photographic procedure.
Cros was a poet of meager means, not in a position to pay a machinist to build a working model, and largely content to bequeath his ideas to the public domain free of charge and let others reduce them to practice, but after the earliest reports of Edison's presumably independent invention crossed the Atlantic he had his sealed letter of April 30 opened and read at the December 3, meeting of the French Academy of Sciences, claiming due scientific credit for priority of conception.
Throughout the first decade — of commercial production of the earliest crude disc records, the direct acid-etch method first invented by Cros was used to create the metal master discs, but Cros was not around to claim any credit or to witness the humble beginnings of the eventually rich phonographic library he had foreseen. He had died in at the age of Thomas Alva Edison conceived the principle of recording and reproducing sound between May and July as a byproduct of his efforts to "play back" recorded telegraph messages and to automate speech sounds for transmission by telephone.
The visitor without any ceremony whatever turned the crank, and to the astonishment of all present the machine said: "Good morning. How do you do? How do you like the phonograph? I was experimenting," he said, "on an automatic method of recording telegraph messages on a disk of paper laid on a revolving platen, exactly the same as the disk talking-machine of to-day. The platen had a spiral groove on its surface, like the disk. Over this was placed a circular disk of paper; an electromagnet with the embossing point connected to an arm traveled over the disk; and any signals given through the magnets were embossed on the disk of paper.
If this disc was removed from the machine and put on a similar machine provided with a contact point, the embossed record would cause the signals to be repeated into another wire. The ordinary speed of telegraphic signals is thirty-five to forty words a minute; but with this machine several hundred words were possible. From my experiments on the telephone I knew of how to work a pawl connected to the diaphragm ; and this engaging a ratchet-wheel served to give continuous rotation to a pulley.
This pulley was connected by a cord to a little paper toy representing a man sawing wood. Hence, if one shouted: ' Mary had a little lamb ,' etc. I reached the conclusion that if I could record the movements of the diaphragm properly, I could cause such records to reproduce the original movements imparted to the diaphragm by the voice, and thus succeed in recording and reproducing the human voice.
Instead of using a disk I designed a little machine using a cylinder provided with grooves around the surface. Over this was to be placed tinfoil , which easily received and recorded the movements of the diaphragm.
I was in the habit of marking the price I would pay on each sketch. If the workman lost, I would pay his regular wages; if he made more than the wages, he kept it. The workman who got the sketch was John Kruesi. I didn't have much faith that it would work, expecting that I might possibly hear a word or so that would give hope of a future for the idea. Kruesi, when he had nearly finished it, asked what it was for. I told him I was going to record talking, and then have the machine talk back.
He thought it absurd. However, it was finished, the foil was put on; I then shouted 'Mary had a little lamb', etc. I adjusted the reproducer, and the machine reproduced it perfectly. I was never so taken aback in my life. Everybody was astonished. I was always afraid of things that worked the first time. Long experience proved that there were great drawbacks found generally before they could be got commercial; but here was something there was no doubt of.
The music critic Herman Klein attended an early demonstration —2 of a similar machine. On the early phonograph's reproductive capabilities he writes "It sounded to my ear like someone singing about half a mile away, or talking at the other end of a big hall; but the effect was rather pleasant, save for a peculiar nasal quality wholly due to the mechanism, though there was little of the scratching which later was a prominent feature of the flat disc.
Recording for that primitive machine was a comparatively simple matter. I had to keep my mouth about six inches away from the horn and remember not to make my voice too loud if I wanted anything approximating to a clear reproduction; that was all.
When it was played over to me and I heard my own voice for the first time, one or two friends who were present said that it sounded rather like mine; others declared that they would never have recognised it.
I daresay both opinions were correct. The Argus Melbourne newspaper reported on an demonstration at the Royal Society of Victoria, writing "There was a large attendance of ladies and gentlemen, who appeared greatly interested in the various scientific instruments exhibited.
Among these the most interesting, perhaps, was the trial made by Mr. Sutherland with the phonograph, which was most amusing. Several trials were made, and were all more or less successful. Edison's early phonographs recorded onto a thin sheet of metal, normally tinfoil , which was temporarily wrapped around a helically grooved cylinder mounted on a correspondingly threaded rod supported by plain and threaded bearings.
While the cylinder was rotated and slowly progressed along its axis , the airborne sound vibrated a diaphragm connected to a stylus that indented the foil into the cylinder's groove, thereby recording the vibrations as "hill-and-dale" variations of the depth of the indentation. Playback was accomplished by exactly repeating the recording procedure, the only difference being that the recorded foil now served to vibrate the stylus, which transmitted its vibrations to the diaphragm and onward into the air as audible sound.
Although Edison's very first experimental tinfoil phonograph used separate and somewhat different recording and playback assemblies, in subsequent machines a single diaphragm and stylus served both purposes. One peculiar consequence was that it was possible to overdub additional sound onto a recording being played back.
The recording was heavily worn by each playing, and it was nearly impossible to accurately remount a recorded foil after it had been removed from the cylinder. In this form, the only practical use that could be found for the phonograph was as a startling novelty for private amusement at home or public exhibitions for profit.
Edison's early patents show that he was aware that sound could be recorded as a spiral on a disc, but Edison concentrated his efforts on cylinders, since the groove on the outside of a rotating cylinder provides a constant velocity to the stylus in the groove, which Edison considered more "scientifically correct".
Edison's patent specified that the audio recording be embossed , and it was not until that vertically modulated incised recording using wax-coated cylinders was patented by Chichester Bell and Charles Sumner Tainter.
They named their version the Graphophone. The use of a flat recording surface instead of a cylindrical one was an obvious alternative which thought-experimenter Charles Cros initially favored and which practical experimenter Thomas Edison and others actually tested in the late s and early s. The oldest surviving example is a copper electrotype of a recording cut into a wax disc in Cylindrical Dictaphone records continued in use until the midth century.
The commercialization of sound recording technology had been initially aimed at use in business correspondence, i. With paper documents being the end product, the cylinders were considered ephemeral; need to archive large numbers of bulky, fragile sound recordings seemed unlikely, and the ease of producing multiple copies was not a consideration.
In , Emile Berliner patented a variant of the phonograph which he named the Gramophone. The diaphragm was linked to the recording stylus in a way that caused it to vibrate laterally side to side as it traced a spiral onto a zinc disc very thinly coated with a compound of beeswax.
The zinc disc was then immersed in a bath of chromic acid; this etched a groove into the disc where the stylus had removed the coating, after which the recording could be played. With some later improvements the flat discs of Berliner could be produced in large quantities at much lower cost than the cylinders of Edison's system. In May , in San Francisco , the first "phonograph parlor" opened. It featured a row of coin-operated machines, each supplied with a different wax cylinder record.
The customer selected a machine according to the title that it advertised, inserted a nickel , then heard the recording through stethoscope -like listening tubes. By the mids, most American cities had at least one phonograph parlor.
The coin-operated mechanism was invented by Louis T. Glass and William S. The Class M was powered by a wet-cell glass battery that would spill dangerous acid if it tipped over or broke. By , record manufacturers had begun using a rudimentary duplication process to mass-produce their product. While the live performers recorded the master phonograph, up to ten tubes led to blank cylinders in other phonographs.
Until this development, each record had to be custom-made. Before long, a more advanced pantograph -based process made it possible to simultaneously produce 90— copies of each record. However, as demand for certain records grew, popular artists still needed to re-record and re-re-record their songs.
Reportedly, the medium's first major African-American star George Washington Johnson was obliged to perform his "The Laughing Song" or the separate "The Whistling Coon" [28] literally thousands of times in a studio during his recording career. Sometimes he would sing "The Laughing Song" more than fifty times in a day, at twenty cents per rendition.
The average price of a single cylinder in the mids was about fifty cents. Lambert 's lead cylinder recording for an experimental talking clock is often identified as the oldest surviving playable sound recording, [29] although the evidence advanced for its early date is controversial.
Recently developed optical scanning and image processing techniques have given new life to early recordings by making it possible to play unusually delicate or physically unplayable media without physical contact. A recording made on a sheet of tinfoil at an demonstration of Edison's phonograph in St. Louis, Missouri has been played back by optical scanning and digital analysis.
A few other early tinfoil recordings are known to survive, including a slightly earlier one which is believed to preserve the voice of U. President Rutherford B. Hayes , but as of May they have not yet been scanned. These antique tinfoil recordings, which have typically been stored folded, are too fragile to be played back with a stylus without seriously damaging them.
Edison's tinfoil recording of Mary Had a Little Lamb , not preserved, has been called the first instance of recorded verse. The event was filmed by an early sound-on-film newsreel camera, and an audio clip from that film's soundtrack is sometimes mistakenly presented as the original recording.
Barnum and Shakespearean actor Edwin Booth are amongst the earliest verified recordings by the famous that have survived to the present. Alexander Graham Bell and his two associates took Edison's tinfoil phonograph and modified it considerably to make it reproduce sound from wax instead of tinfoil.
Although Edison had invented the phonograph in the fame bestowed on him for this invention was not due to its efficiency. Recording with his tinfoil phonograph was too difficult to be practical, as the tinfoil tore easily, and even when the stylus was properly adjusted, its reproduction of sound was distorted, and good for only a few playbacks; nevertheless Edison had discovered the idea of sound recording.
However immediately after his discovery he did not improve it, allegedly because of an agreement to spend the next five years developing the New York City electric light and power system. Meanwhile, Bell, a scientist and experimenter at heart, was looking for new worlds to conquer after his invention of the telephone.
In Hubbard got Bell interested in improving the phonograph, and it was agreed that a laboratory should be set up in Washington.
Experiments were also to be conducted on the transmission of sound by light , which resulted in the selenium-celled Photophone. By , the Volta associates had succeeded in improving an Edison tinfoil machine to some extent.
Wax was put in the grooves of the heavy iron cylinder, and no tinfoil was used. Rather than apply for a patent at that time, however, they deposited the machine in a sealed box at the Smithsonian , and specified that it was not to be opened without the consent of two of the three men. The sound vibrations had been indented in the wax which had been applied to the Edison phonograph.
The following was the text of one of their recordings: "There are more things in heaven and earth, Horatio, than are dreamed of in your philosophy. I am a Graphophone and my mother was a phonograph.
The explanation is that in the early experiments, the turntable, with disc, was mounted on the shop lathe, along with the recording and reproducing heads. Later, when the complete models were built, most of them featured vertical turntables. One interesting exception was a horizontal seven inch turntable.
The machine, although made in , was a duplicate of one made earlier but taken to Europe by Chichester Bell. Tainter was granted U. Patent , on July 10, The playing arm is rigid, except for a pivoted vertical motion of 90 degrees to allow removal of the record or a return to starting position. While recording or playing, the record not only rotated, but moved laterally under the stylus, which thus described a spiral, recording grooves to the inch.
The preserved Bell and Tainter records are of both the lateral cut and the Edison-style hill-and-dale up-and-down styles. Edison for many years used the "hill-and-dale" method on both his cylinders and Diamond Disc records , and Emile Berliner is credited with the invention of the lateral cut, acid-etched Gramophone record in The Volta associates, however, had been experimenting with both formats and directions of groove modulation as early as The basic distinction between the Edison's first phonograph patent and the Bell and Tainter patent of was the method of recording.
Edison's method was to indent the sound waves on a piece of tin foil, while Bell and Tainter's invention called for cutting, Digital Tape Measure Reviews Uk Youtube or "engraving", the sound waves into a wax record with a sharp recording stylus. In , when the Volta Associates were sure that they had a number of practical inventions, they filed patent applications and began to seek out investors.
It was formed to control the patents and to handle the commercial development of their sound recording and reproduction inventions, one of which became the first Dictaphone. After the Volta Associates gave several demonstrations in the City of Washington, businessmen from Philadelphia created the American Graphophone Company on March 28, , in order to produce and sell the machines for the budding phonograph marketplace.
Shortly after American Graphophone's creation, Jesse H. He then created the North American Phonograph Company to consolidate the national sales rights of both the Graphophone and the Edison Speaking Phonograph.
In the early s Lippincott fell victim to the unit's mechanical problems and also to resistance from stenographers. A coin-operated version of the Graphophone, U. Patent , , was developed by Tainter in to compete with nickel-in-the-slot entertainment phonograph U.
Patent , demonstrated in by Louis T. Glass, manager of the Pacific Phonograph Company. The work of the Volta Associates laid the foundation for the successful use of dictating machines in business, because their wax recording process was practical and their machines were durable. But it would take several more years and the renewed efforts of Edison and the further improvements of Emile Berliner and many others, before the recording industry became a major factor in home entertainment.
Discs are not inherently better than cylinders at providing audio fidelity. Rather, the advantages of the format are seen in the manufacturing process: discs can be stamped; cylinders could not be until — when the gold moulding process was introduced by Edison.
Recordings made on a cylinder remain at a constant linear velocity for the entirety of the recording, while those made on a disc have a higher linear velocity at the outer portion of the disc compared to the inner portion. Edison's patented recording method recorded with vertical modulations in a groove.
Berliner utilized a laterally modulated groove. Though Edison's recording technology was better than Berliner's, [ clarification needed ] there were commercial advantages to a disc system since the disc could be easily mass-produced by molding and stamping and it required less storage space for a collection of recordings. Berliner successfully argued that his technology was different enough from Edison's that he did not need to pay royalties on it, which reduced his business expenses.
Through experimentation, in Berliner began commercial production of his disc records, and "gramophones". His " gramophone record " was the first disc record to be offered to the public.
They were five inches Seven-inch Also in Berliner replaced the hard rubber used to make the discs with a shellac compound. Work by Eldridge R. Johnson eventually improved the sound fidelity to a point where it was as good as the cylinder. In , discs were first pressed with music on both sides and capable of around seven minutes total playing time, as opposed to the cylinder's typical duration on two minutes at that time.
As a result of this and the fragility of wax cylinders in transit and storage, cylinders sales declined. Edison felt the increasing commercial pressure for disc records, and by , though reluctant at first, his production of disc records was in full swing.
This was the Edison Disc Record. Nevertheless, he continued to manufacture cylinders until and was last to withdraw from that market. From the mids until World War I , both phonograph cylinder and disc recordings and machines to play them on were widely mass-marketed and sold.
The disc system superseded the cylinder in Europe by when both Columbia and Pathe withdrew from that market. By , Edison was the only company still producing cylinders in the USA although in Great Britain small manufacturers pressed on until See gramophone record. The s brought improved radio technology.
Radio sales increased, bringing many phonograph dealers to near financial ruin. With efforts at improved audio fidelity, the big record companies succeeded in keeping business booming through the end of the decade, but the record sales plummeted during the Great Depression , with many companies merging or going out of business. Record sales picked up appreciably by the late 30s and early 40s, with greater improvements in fidelity and more money to be spent.
In the s, vinyl originally known as vinylite was introduced as a record material for radio transcription discs , and for radio commercials. At that time, virtually no discs for home use were made from this material.
This significantly reduced breakage during transport. The first commercial vinylite record was the set of five 12" discs " Prince Igor " Asch Records album S, dubbed from Soviet masters in Victor began selling some home-use vinyl 78s in late ; but most 78s were made of a shellac compound until the rpm format was completely phased out. Shellac records were heavier and more brittle.
Booms in record sales returned after the Second World War, as industry standards changed from 78s to vinyl, long-playing records commonly called record albums , which could contain an entire symphony , and 45s which usually contained one hit song popularized on the radio — thus the term "single" record — plus another song on the back or "flip" side.
An " extended play " version of the 45 was also available, designated 45 EP , which provided capacity for longer musical selections, or for two regular-length songs per side. Shortcomings include surface noise caused by dirt or abrasions scratches and failure caused by deep surface scratches causing skipping of the stylus forward and missing a section, or groove lock, causing a section to repeat, usually punctuated by a popping noise.
Their circuitry used three Philco germanium PNP alloy-fused junction audio frequency transistors. By the s, cheaper portable record players and record changers which played stacks of records in wooden console cabinets were popular, usually with heavy and crude tonearms in the portables.
The consoles were often equipped with better quality pick-up cartridges. Even pharmacies stocked 45 rpm records at their front counters. Rock music played on 45s became the soundtrack to the s as people bought the same songs that were played free of charge on the radio.
Some record players were even tried in automobiles, but were quickly displaced by 8-track and cassette tapes. The fidelity of sound reproduction made great advances during the s, as turntables became very precise instruments with belt or direct drive, jewel-balanced tonearms, some with electronically controlled linear tracking and magnetic cartridges. Some cartridges had frequency response above 30 kHz for use with CD-4 quadraphonic 4 channel sound.
A well-maintained record would have very little surface noise. A novelty variation on the standard format was the use of multiple concentric spirals with different recordings. Thus when the record was played multiple times, different recordings would play, seemingly at random.
These were often utilized in talking toys and games. Records themselves became an art form because of the large surface onto which graphics and books could be printed, and records could be molded into unusual shapes, colors, or with images picture discs.
The turntable remained a common element of home audio systems well after the introduction of other media, such as audio tape and even the early years of the compact disc as a lower-priced music format. However, even though the cost of producing CDs fell below that of records, CDs remained a higher-priced music format than either cassettes or records.
Thus, records were not uncommon in home audio systems into the early s. By the turn of the 21st century, the turntable had become a niche product, as the price of CD players , which reproduce music free of pops and scratches, fell far lower than high-fidelity tape players or turntables. Nevertheless, there is some increase in interest; many big-box media stores carry turntables, as do professional DJ equipment stores.
Most low-end and mid-range amplifiers omit the phono input ; but on the other hand, low-end turntables with built-in phono pre-amplifiers are widely available.
Some combination systems include a basic turntable, a CD player, a cassette deck. Records also continue to be manufactured and sold today, albeit in smaller quantities than in the disc phonograph's heyday.
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