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Reel deutsch

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Viele übersetzte Beispielsätze mit "cable reel" – Deutsch-Englisch Wörterbuch und Suchmaschine für Millionen von Deutsch-Übersetzungen. | Übersetzungen für 'reel' im Englisch-Deutsch-Wörterbuch, mit echten Sprachaufnahmen, Illustrationen, Beugungsformen. Viele übersetzte Beispielsätze mit "reel" – Deutsch-Englisch Wörterbuch und Suchmaschine für Millionen von Deutsch-Übersetzungen.

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Der Eintrag wurde im Forum gespeichert. LEO uses cookies in order to facilitate the fastest possible website experience with the most functions.

In some cases cookies from third parties are also used. Transliteration aktiv Tastaturlayout Phonetisch. Das Coil abwickeln hat s…. Der Eintrag "pay-off reel [tech.

Wir verwenden in ein…. You reel me out. Hallo, in dem Lied von RadioHead "15 Steps" fand ich: Der Begriff fiel, als jemand eine alte Tonspule ins Studio brachte, dort aber n….

Where the surface mount component "pick and place" machine selects the co…. For the first time, audio could be manipulated as a physical entity.

Tape editing is performed simply by cutting the tape at the required point, and rejoining it to another section of tape using adhesive tape , or sometimes glue.

This is called a splice. Usually, the cut is made at an angle across the tape so that any "click" or other noise introduced by the cut is spread across a few milliseconds of the recording.

The use of reels to supply and collect the tape also made it very easy for editors to manually move the tape back and forth across the heads to find the exact point they wished to edit.

Tape to be spliced was clamped in a special splicing block attached to the deck near the heads to hold the tape accurately while the edit was made.

A skilled editor could make these edits very rapidly and accurately. A side effect of cutting the tape at an angle is that on stereo tapes the edit occurs on one channel a split-second before the other.

Long, angled splices can also be used to create a perceptible dissolve from one sound to the next; periodic segments can induce rhythmic or pulsing effects.

The performance of tape recording is greatly affected by the width of the tracks used to record a signal, and the speed of the tape.

The wider and faster the better, but of course this uses more tape. These factors lead directly to improved frequency response , signal-to-noise ratio , and high-frequency distortion figures.

Tape can accommodate multiple parallel tracks, allowing not just stereo recordings, but multi-track recordings too. This gives the producer of the final edit much greater flexibility, allowing a performance to be remixed long after the performance was originally recorded.

This innovation was a great driving force behind the explosion of popular music in the late s and s. The first multi-tracking recorders had four tracks, then eight, then sixteen, twenty-four, and so on.

It was also discovered that new effects were possible using multi-tracking recorders, such as phasing and flanging , delays and echo, so these innovations appeared on pop recordings shortly after multi-tracking recorders were introduced.

For home use, simpler reel-to-reel recorders were available, and a number of track formats and tape speeds were standardised to permit interoperability and prerecorded music.

Reel-to-reel tape editing also gained cult-status when many used this technique on hit-singles in the s.

The first prerecorded reel-to-reel tapes were introduced in the United States in ; the catalog contained fewer than ten titles with no popular artists.

RCA Victor joined the reel-to-reel business in In , EMI released 2-track "stereosonic" tapes, although the catalog took longer to be published.

Then they introduced their Twin Packs, which contained the equivalent of two LP albums but playing at 3. The heyday of prerecorded reel tapes was the mids, but after the introduction of less complicated cassette tapes and 8-track tapes , the number of albums released on prerecorded reel tape dropped dramatically despite their superior sound quality.

By the latter s, their retail prices were considerably higher than competing formats, and musical genres were limited to those most likely to appeal to well-heeled audiophiles willing to contend with the cumbersome threading of open-reel tape.

The introduction of the Dolby noise-reduction system narrowed the performance gap between cassettes and open-reel, and by prerecorded open-reel offerings had almost completely disappeared, even from record stores and audio equipment shops.

Columbia House advertisements in showed that only one-third of new titles were available on reel-to-reel; they continued to offer a select number of new releases in the format until Sales were very low and specialized during the s.

Audiophile reel tapes were made under license by Barclay-Crocker between and Barclay-Crocker tapes were all Dolby encoded and some titles were also available in the dbx format.

The majority of the catalog contained classical recordings, with a few jazz and movie soundtrack albums. Barclay-Crocker tapes were duplicated on modified Ampex machines at four times the playing speed, unlike popular reel tapes which were duplicated at 16 times the playback speed.

All of the known pre-recorded reel-to-reels on the market are all documented at the Reel To Reel Index website which focuses on the last reels made during the s and includes photographs of all of them.

Pre-recorded reel-to-reel tapes are also available once again, albeit somewhat expensively as a very high-quality audiophile product, through "The Tape Project".

Since , The Tape Project has released their own albums, as well as previously-released albums under license from other labels, on open-reel tape.

When Ampex broke apart in the s, Quantegy Inc. Quantegy and formerly Ampex led the field in reel-to-reel technology, and Quantegy was the only company left making reel-to-reel tape in the world for a period of two years.

ATR Magnetics LLC began manufacturing analog open reel tape in and is now in full production of all sizes of professional open reel recording tape.

In general, the faster the speed, the better the reproduction quality. In addition, higher tape speeds spread the signal longitudinally over more tape area, reducing the effects of dropouts that can be audible from the medium.

Slower tape speeds conserve tape and are useful in applications where sound quality is not critical. The need for a high linear tape speed was made unnecessary with the introduction of the now-obsolete professional Quadruplex system from , which segmented the fields of a television image by recording and reproducing several tracks at a high-speed across the width of the tape per field of video by way of a spinning headwheel with 4 separate video heads mounted on its edge a technique called transverse scanning , allowing for the linear tape speed to be much slower.

Transverse scanning was superseded by the later technology of helical scanning , which could record one whole field of video per helically-recorded track, recorded at an angle across the width of the tape.

Even though a recording on tape may have been made at studio quality, tape speed was the limiting factor, much like bit rate is today.

Decreasing the speed of analog audio tape causes a uniform decrease in the linearity of the frequency response, increased background noise hiss , more noticeable dropouts where there are flaws in the magnetic tape, and shifting of the Gaussian background noise spectrum toward lower frequencies where it sounds more "granular", regardless of the audio content.

An MP3 of a noisy rock band at a low bit rate will have many more artifacts than a simple flute solo at the same bit rate, whereas either on low-speed tape will have the same uniform background noise profile and high frequency saturation weakened high end response.

Editing was done either with a razor blade—by physically cutting and splicing the tape on a metal splicing block, in a manner similar to motion picture film editing—or electronically by dubbing segments onto an edit tape.

The former method preserved the full quality of the recording but not the intact original; the latter incurred the same quality loss involved in dubbing a complete copy of the source tape, but preserved the original.

Tape speed is not the only factor affecting the quality of the recording. Other factors affecting quality include track width, oxide formulation, and backing material and thickness.

The design and quality of the recorder are also important factors, in many ways that are not applicable to digital recording systems.

The regulation of tape tension affects contact between the tape and the heads and has a very significant impact on the recording and reproduction of high frequencies.

Tape formulation varies between different tape types ferric oxide [Fe 2 O 3 ], chromium dioxide [CrO 2 ], etc. Studios therefore generally align their machines for one brand and model number of tape and use only that brand and model.

Backing material type and thickness affect the tensile strength and elasticity of the tape, which affect wow-and-flutter and tape stretch; stretched tape will have a pitch error, possibly fluctuating.

Backing thickness also affects print-through, the phenomenon of adjacent layers of tape wound on a reel picking up weak copies of the magnetic signal from each other.

Print-through on analog tape causes unintended pre- and post-echoes on playback, and is generally not fully reversible once it has occurred.

In professional half-track use, post-echo is considered less problematic than pre-echo as the echo is largely masked by the signal itself and therefore tapes stored for long periods are kept "tails-out", where the tape must be first wound "backwards" onto the take-up spool before playback.

Another quality aspect, not related to audio quality, is the backing material. Typically acetate was used for cheaper tape, and Mylar for more expensive tape.

Acetate would tend to break under conditions that Mylar would survive, though possibly stretch. Electronic noise reduction techniques were also developed to increase the signal-to-noise ratio and dynamic range of analog sound recordings.

Dolby noise reduction includes a suite of standards designated A, B, C, S and SR for both professional and consumer recording.

Initially, Dolby was offered via a stand-alone box that would go between a recorder and amplifier. Later audio devices often included Dolby.

DBX is another noise reduction system that uses a more aggressive companding technique to improve both dynamic range and noise level.

Even though this applied to the consumer market, there was no tape hiss at all that an ear could realize. The "pumping effect" mostly reported from critical sound material e.

It did not penetrate the market, possibly due to the less aggressive marketing strategies typical for German companies at that time compared to the widely known Dolby systems.

Dolby B eventually became the most popular system for Compact Cassette noise reduction. Today Dolby SR is in widespread use for professional analog tape recording.

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