Audio Disc Research Articles

ЮМОР КАК ИНСТРУМЕНТАЛЬНАЯ ИДЕЯ ЯЗЫКОВОГО ОБРАЗОВАНИЯ В СФЕРЕ ПОЛИТИКИ И МЕЖДУНАРОДНЫХ ОТНОШЕНИЙ

Humor on the topic of politics is an indicator of the speed of reac- tions, knowledge and ability to understand the situation that causes it, in the general political situation. Linking the content of training with humorous im- ages, quotes of famous politicians, it is appropriate to attract students’ attention, better fix the information in memory, thanks to joining of figurative and linguistic metaphors and comparisons that cause students to evoke emotions and laughter. Thus, humor is an ideal “breeding ground” to learn the content. The criteria for selecting the material for the lesson are the level of students ‘ awareness in the field of international politics, their outlook; the level of language competence; the level of understanding of the specifics of foreign language culture. A good knowledge of the sources of one’s examples allows to influence the audience unobtrusively, demonstrating the discovery of new connections between the phenomena. There is only one limitation to the use of political texts that include humor: aggressive humor can harm and demotivate students. to diversify the les- son, you can include visual humorous material, namely, political caricature Based on national stereotypes, humor reflects the cognitive specifics of the mentality, so it is very important to learn how to adequately perceive the jokes of repre- sentatives of other cultures. German political humor focuses on the individual characteristics and behavior of politicians. In Germany, comics, humorous TV shows, and political cartoons are popular. Witty statements of German politi- cians are recorded by media representatives on audio discs, in printed materials.

Structural and magnetic studies of Cr3+ ion-doped Ni–Ba–Co ferrite

Cr3+ ion-doped Ni–Ba–Co ferrite with the chemical formula Ni0.2Ba0.1Co0.7Fe2-xCrxO4 was prepared by the sol–gel route. The X-ray diffraction analysis confirmed spinel-phase structure of the prepared Cr3+ ion-doped Ni–Ba–Co ferrite. By Scherrer’s formula, the average crystallite size was calculated. Meanwhile, from Fourier transform infrared spectroscopy, the absorption peaks around 590 cm− 1 were found; it can be inferred that the prepared samples had spinel structure. Transmission electron microscopy images showed that the prepared particles had spherical cube shape and were in the nanosize range. EDS analyzed the elements and ingredients of samples. Vibrating sample magnetometer results revealed that the values of Ms, Mr and Hc increased with Cr3+ ions doping level from 0 to 0.075; when x = 0.1, the above three slightly decreased. This indicates that proper doping content can enhance the magnetic properties. The material can be used for audio, videotape and high-density digital recording disk in information storage industry.

WEB-ТЕХНОЛОГІЯ ВИКОРИСТАННЯ ПРОГРАМ ВІДЕОЗАХОПЛЕННЯ ПРИ ПІДГОТОВЦІ ОСВІТНІХ МАТЕРІАЛІВ ВІДДАЛЕНОГО НАВЧАННЯ

Promising areas for improving the education system, and with the advent of coronavirus online mode has become critical in education, in this regard are at home. Schools have started using Zoom software, and the role of the modular learning environment has grown significantly. At the same time, many problems were identified, such as the lack of Internet access for students from rural areas or disadvantaged families, which has become an obstacle to learning and access to educational materials. In response, the United Nations Educational, Scientific and Cultural Organization has made a number of recommendations for distance learning. Modern distance education is an extensive system of knowledge transfer at a distance using various tools and technologies, the result of which is the receipt by users of the necessary information for its successful implementation in practice. There are a variety of ways to disseminate knowledge today: mailing books, writing assignments, audio and video discs, telephone consultations, and virtually limitless possibilities of the World Wide Web. The use of distance learning methods allows to provide educational services of various kinds in remote areas, to teach without interruption from the main activity, to teach people with disabilities, to have access to educational resources of the world through the use of modern electronic communications. In today's world, education plays a key role in people's lives, which makes it necessary to constantly develop teaching methods, including distance learning. The coronavirus pandemic has revealed many shortcomings of distance education, as well as the absolute unpreparedness of students and educational institutions for this form of education. That is why it is important to develop this industry now in order to further provide comfortable education for both Ukrainian and foreign students and to ensure that in the future the education system will be ready for situations similar to the coronavirus pandemic. The article is written to assess the advantages and disadvantages of distance learning, its necessity, analysis of the requirements for distance learning materials. Prospects of technologies of multimedia representation of researched objects, processes, phenomena, adequate modeling of the subject area, and their realization.

Structure and magnetic analyses of hexaferrite Sr1−xLaxFe22+Fe163+O27 prepared via the solid-state reaction

W-type ferrite Sr1−xLaxFe22+Fe163+O27 (x = 0.00, 0.05, 0.08, 0.10, 0.13 and 0.15) powders and magnets were prepared via the solid-state reaction in nitrogen. Phase components of the powder samples were examined by X-ray diffraction (XRD). XRD results demonstrated the appearance of pure phase hexagonal crystal structure and calculate the lattice constants c and a, c/a ratio, cell volume (Vcell), X-ray density (dX-ray) and crystallite size (D) parameters according to XRD data. Scanning electron microscopy (SEM) was used to observe the morphology of the magnets. SEM analyses revealed the hexagonal morphology of the ferrites. The magnetic characteristics of magnetic powders were measured by a vibrating sample magnetometer (VSM), and the magnetic characteristics of magnets were also measured by a permanent magnetic measuring equipment. The results indicate that, the synthesized samples with a low coercive force value and a considerable saturation magnetization are best able to make optical read-out of the magnetic storage information in erasable video and audio discs.

"I wanna sing...!". Almost detective story about the folk songs from the animated film “There once was a dog”

Relevance. 1982 is a special year for the Soviet Union cinematography because this year animated short film “There once was a dog” directed by soviet artist Eduard Nazarov (1941–2016) was showed up. Cartoon is based on a Ukrainian folk tale “Sirko” about friendship between the old enemies: a gray wolf and a home dog, who was kicked out the house by owners. Phrases and songs from the film (by the way, in the initial version – “Dog’s life”) became well-known. In 1983 authors won awards at international film festivals in Denmark and France. This animated film became one of the populariest in the end of XX century.So, very frustrating is the fact that today there is no exact data about the performers of favorite folk songs, or, moreover, about their geographical origin. In the titles of the movie there is no information about music that sounds. This was the reason of the long-term confusion. A long time there was considered that all folk songs from “There once was a dog” are performed by well-known authentic folk ensemble “Drevo” from Kryachkivkavillage Pyryatyn district Poltava region. But songs from the short movie are different by songs performed by the ensemble, which were recorded by ethnomusicologists or published on audio discs. They are different by polyphonic texture, timbre and manner of the singers. Thus, it became obvious that songs from the cartoon were performed by other ensembles. The object of the article was to search for the original recordings used by E. Nazarov in the cartoon.So, after long term searching, the answer was found. Two songs from animation short film were found in the audio fund of Ukrainian Broadcasting Company. They were recorded for the radio program “The gold springs” (1980-1993) leading by Halyna Verhovynets.A humorous song "Ta kosyv bat’ko" was sung by authentic ensemble from Solonytsia village of Lubny district Poltava region.Ballad “Oi tam na hori” was performed by authentic ensemble from Pulyntsi village Lubny district Poltava region.Petrivka (ritual summer period song) “Oi do boru stezhechka”, which was sound from the third verse “Schob do mene solovei prylitav”, origins from the Nedilysche village Emilchyn district Zhytomyr region. The authentic version was recorded by ethnomusicologist of Kyiv conservatory Volodymyr Matvienko in 1977. But in short-film it is performed by reconstructive ensemble by O. Shevchuk, V. Ponomarenko, P. Aron and T. Tonkal.Due to collaboration of Kyiv ethnomusicologists all the songs of the cartoon were identified. With methods of comparative and stylistic analysis there was found original recordings used by E. Nazarov in his film “There once was a dog”.

Saphir

The goal of optical playback of analogue audio discs records has been pursued since at least 1929. Several different approaches have been demonstrated to work. But in most cases the playback quality is worse than using mechanical playback. The Saphir process uses a specifically designed colour illuminator that exploits the reflective properties of the disc material to highlight subtle changes in orientation of the groove walls, even at highest frequencies (20kHz). A standard colour camera is used to collect rings of pictures from the disc. Audio signal is extracted from the collected pictures automatically, under user control. When colour signal is not useable, track slope can be used as an alternative. The process is slow—several hours per disc—but has a wide range of operation on recorded and printed discs, from earliest Berliner recordings to recent vinyl records, and its strength is at decoding direct-recording lacquer discs. An Elementary Shortest Path Solver with a reward (negative cost) on the number of turns is used to re-connect all the sub-tracks obtained, allowing to reconstruct, with limited human intervention, the correct playback order. We describe the approach and present the main advantages and drawbacks. The process was used to play back a number of extremely damaged (broken, de-laminated…), physically unplayable records.

Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM

Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?

The Lives of Dakou in China: From Waste to Nostalgia

1990s : dakou (打 口 ) CDs and tapes. Literally meaning “ cut” or “ gashed,” the term dakou refers to CDs and tapes illegally sold on the Chinese black market in the 1990s, which had been shipped to China from the West in order to recycle unsold CDs and tapes. To prevent them from being sold on the black market, these CDs and tapes were cut (打) on the edges (口) in order to render them useless. This did not take into account, however, that an audio disc is read from the center to the outer edge, so only the last track was lost. A large part of this musical waste was sold for a cheap price on the black market in large cities in China, in defiance of official censorship, since a lot of Western pop music was forbidden. This paper tackles the question of dakou nostalgia by the members of the “dakou generation” through a study of various accounts, as well as stories and articles that have been published in the past few years, shedding new light on this unprecedented phenomenon.

Hippie Modernism: The Struggle for Utopia: Cranbrook Art Museum, Bloomfield Hills, MIJune 19–October 9, 2016Walker Art Center, MinneapolisOctober 24, 2015–February 28, 2016University of California, Berkeley Art Museum and Pacific Film ArchiveFebruary 8–May 21, 2017CatalogueHippie Modernism: The Struggle for UtopiaEdited by Andrew BlauveltMinneapolis: Walker Art Center, 2015.448 pp.; 200 color and 80 b/w ills.Paper $55ISBN 9781935963097

Hippie Modernism: The Struggle for Utopia: Cranbrook Art Museum, Bloomfield Hills, MIJune 19–October 9, 2016Walker Art Center, MinneapolisOctober 24, 2015–February 28, 2016University of California, Berkeley Art Museum and Pacific Film ArchiveFebruary 8–May 21, 2017Catalogue<i>Hippie Modernism: The Struggle for Utopia</i>Edited by Andrew BlauveltMinneapolis: Walker Art Center, 2015.448 pp.; 200 color and 80 b/w ills.Paper $55ISBN 9781935963097

Does manual therapy provide additional benefit to breathing retraining in the management of dysfunctional breathing? A randomised controlled trial

Purpose: Dysfunctional breathing (DB) is associated with an abnormal breathing pattern, unexplained breathlessness and significant patient morbidity. Treatment involves breathing retraining through respiratory physiotherapy. Recently, manual therapy (MT) has also been used, but no evidence exists to validate its use. This study sought to investigate whether MT produces additional benefit when compared with breathing retraining alone in patients with DB. Methods: Sixty subjects with primary DB were randomised into either breathing retraining (standard treatment; n = 30) or breathing retraining plus MT (intervention; n = 30) group. Both the groups received standardised respiratory physiotherapy, which included: DB education, breathing retraining, home regimen, and audio disc. Intervention group subjects additionally received MT following further assessment. Data from 57 subjects were analysed. Results: At baseline, standard treatment group subjects were statistically younger (41.7 + 13.5 versus 50.8 + 13.0 years; p = 0.001) with higher Nijmegen scores (38.6 + 9.5 versus 31.5 + 6.9; p = 0.001). However, no significant difference was found between the groups for primary outcome Nijmegen score (95% CI (−1.1, 6.6) p = 0.162), or any secondary outcomes (Hospital Anxiety & Depression Score, spirometry or exercise tolerance). Conclusion: Breathing retraining is currently the mainstay of treatment for patients with DB. The results of this study suggest MT provides no additional benefit in this patient group.Implications for RehabilitationDysfunctional breathing (DB) is associated with significant patient morbidity but often goes unrecognised, leading to prolonged investigation and significant use of health care resources.Breathing retraining remains the primary management of this condition. However, physiotherapists are also using manual therapy (MT) as an adjunctive treatment for patients with DB.However, the results of this study suggest that MT provides no further benefit and cannot be recommended in the clinical management of this condition.

INTERACTIVE AUDIO STRATEGIES FOR DEVELOPING LISTENING SKILLS

This article is based on a paper presented at the CALICO '89 Sixth Annual International Symposium, Colorado Springs, Colorado. This article describes and discusses some ideas for exercise types that can best exploit the capabilities of the computer-controlled laser audio disc in the design and development of foreign language listening comprehension learning activities. The exercises considered include vocabulary recognition, discovering paraphrases, predicting discourse, and transcribing text. Some suggestions for future study are offered.

Effects of guided imagery with relaxation training on anxiety and quality of life among patients with inflammatory bowel disease

Background: Inflammatory Bowel Disease (IBD) impacts quality of life (QoL). Psychological factors influence the course of the disease and should be targeted for intervention. Methods: Our study was a prospective, randomised control trial. Fifty-six outpatients were randomly chosen and allocated to a treatment group or a waiting-list control group. Treatment group patients attended three relaxation-training sessions and received an audio disc for home practice. Evaluations performed pre and post-treatment: state anxiety was assessed with the State-Trait Anxiety Inventory, QoL with the IBD Questionnaire. The Visual Analogue Scale assessed pain, depression, stress and mood. Patients completed a symptom monitoring diary. The control group's symptoms were monitored without study-related treatment. Results: Thirty-nine subjects completed the study and were included in the data analysis. Following the relaxation-training intervention, the treatment group's (n = 18) measured results showed a statistically significant improvement as compared to the control group (n = 21) (time by treatment interaction): anxiety levels decreased (p < 0.01), QoL and mood improved (p < 0.05), while levels of pain and stress decreased (p < 0.01). Conclusions: Findings indicate IBD patients may benefit from relaxation training in their holistic care. New studies as well as further investigation of the subject are warranted.

&lt;i&gt;A Radiant Curve: Poems and Stories&lt;/i&gt; (review)

Reviewed by: A Radiant Curve: Poems and Stories Esther Belin (bio) Luci Tapahonso. A Radiant Curve: Poems and Stories. Tucson: U of Arizona P, 2008. ISBN: 0-8165-2709-1. 128 pp. A general inquiry about Navajo poetry often lists Luci Tapahonso's name near the top. Tapahonso is one of the earliest-documented Navajo poets in publication. Her newest poetry collection, A Radiant Curve, confirms her place near the top of any list in American literature. Whether there exists an audience to receive her information into the American literature canon is arguable. A similar argument exists when determining whether any traditional Native Americans still exist. The semantic relationship tribes have with the English language is mostly one of invisibility, but when it does transpire there are often layers and layers of investigation and interpretation that need to occur before the manifestation. Indeed, the context to any tribal writing using the English language is calculated and complicated at best. A Navajo-language speaker would readily disclose that the English word poetry does not exist in the Navajo worldview. As a fellow Navajo poet, I would simply induce that the word is nonexistent [End Page 125] because it is exclusive of audience. The Navajo worldview is centered on audience; many taboos exist for this purpose. Similar to how anthropologists have observed the central role of shamans in so-called primitive societies, shamans keep the tribe together with ceremonial lore to maintain a societal worldview. Shamans are the orators, the healers, the chanters. Again, a Navajo-language speaker would readily disclose that an equivalent word for shaman exists in the Navajo worldview. The English translation of hataalii is often written as "medicine man." However, it is just a personified version of hataal, to sing, chant, or speak with an audience in mind. And as most tribes, the Navajo people are especially good at adapting. The original role of hataalii is losing audience; the political strategy to eliminate tribes within the United States has made it essential for tribes to integrate and hybridize their worldviews to maintain a solidified tribal identity. As more Navajo writers continue to publish in the English language, the more they are confirming that English has become a tribal language. Using that tribal English, Tapahonso presents her audience with intricate and varied methods to reimagine and resume a tribal existence in midst of the persistent industrial and capitalist ideology surrounding tribal borders. Her gingerly textured tribal phrases could easily be dismissed when analyzed via Western origins of literary criticism. Although Tapahonso writes utilizing the English language as a vehicle, her writing is meant to be heard. As a tribe with an imposed orthography, the Navajo people often stress the importance of their oral transmission of data, song, and worldview. Thus, Tapahonso affirms her position as storyteller (chanter/singer) and includes an audio disc of her reading selected poems and singing her songs. The inclusion of this recording is a welcome supplement. Her selected poems include longtime audience favorites "Hills Brothers Coffee" and "Raisin Eyes." Tapahonso eloquently maneuvers her audience with such ease: at times, she is a dictionary, historian, theologian, shopping mall. She masters rhetorical distance and space with the use of her local and global tactics. Tapahonso opens A Radiant Curve with "The Beginning was Mist," a poem many could argue is simply creating context [End Page 126] or prologue. Rather, Tapahonso has it listed equally in the table of contents with other similar poems throughout the book. Those localized poems are meticulously placed throughout the text to serve the social function of poetry. Tapahonso's oral tradition ideology requires a subordination of style (what many would identify as the literary art via Western standards) to the subject (audience memory and engagement) because it is so readily connected to tribal wellbeing. Thus, tribal writers hold an even greater burden when offering their texts as contributing social elements to collective survival. On a global level, Tapahonso's volume is vital as a noninvasive academic text. As a scholar, Tapahonso contributes to numerous fields of study: linguistics, history, anthropology, sociology, psychology, and so forth. The real functioning art of this volume stems from the sestina "The Canyon was Serene." Tapahonso...

Review

Reviewed by: A Radiant Curve: Poems and Stories Esther Belin (bio) Luci Tapahonso. A Radiant Curve: Poems and Stories. Tucson: U of Arizona P, 2008. ISBN: 0-8165-2709-1. 128 pp. A general inquiry about Navajo poetry often lists Luci Tapahonso's name near the top. Tapahonso is one of the earliest-documented Navajo poets in publication. Her newest poetry collection, A Radiant Curve, confirms her place near the top of any list in American literature. Whether there exists an audience to receive her information into the American literature canon is arguable. A similar argument exists when determining whether any traditional Native Americans still exist. The semantic relationship tribes have with the English language is mostly one of invisibility, but when it does transpire there are often layers and layers of investigation and interpretation that need to occur before the manifestation. Indeed, the context to any tribal writing using the English language is calculated and complicated at best. A Navajo-language speaker would readily disclose that the English word poetry does not exist in the Navajo worldview. As a fellow Navajo poet, I would simply induce that the word is nonexistent [End Page 125] because it is exclusive of audience. The Navajo worldview is centered on audience; many taboos exist for this purpose. Similar to how anthropologists have observed the central role of shamans in so-called primitive societies, shamans keep the tribe together with ceremonial lore to maintain a societal worldview. Shamans are the orators, the healers, the chanters. Again, a Navajo-language speaker would readily disclose that an equivalent word for shaman exists in the Navajo worldview. The English translation of hataalii is often written as "medicine man." However, it is just a personified version of hataal, to sing, chant, or speak with an audience in mind. And as most tribes, the Navajo people are especially good at adapting. The original role of hataalii is losing audience; the political strategy to eliminate tribes within the United States has made it essential for tribes to integrate and hybridize their worldviews to maintain a solidified tribal identity. As more Navajo writers continue to publish in the English language, the more they are confirming that English has become a tribal language. Using that tribal English, Tapahonso presents her audience with intricate and varied methods to reimagine and resume a tribal existence in midst of the persistent industrial and capitalist ideology surrounding tribal borders. Her gingerly textured tribal phrases could easily be dismissed when analyzed via Western origins of literary criticism. Although Tapahonso writes utilizing the English language as a vehicle, her writing is meant to be heard. As a tribe with an imposed orthography, the Navajo people often stress the importance of their oral transmission of data, song, and worldview. Thus, Tapahonso affirms her position as storyteller (chanter/singer) and includes an audio disc of her reading selected poems and singing her songs. The inclusion of this recording is a welcome supplement. Her selected poems include longtime audience favorites "Hills Brothers Coffee" and "Raisin Eyes." Tapahonso eloquently maneuvers her audience with such ease: at times, she is a dictionary, historian, theologian, shopping mall. She masters rhetorical distance and space with the use of her local and global tactics. Tapahonso opens A Radiant Curve with "The Beginning was Mist," a poem many could argue is simply creating context [End Page 126] or prologue. Rather, Tapahonso has it listed equally in the table of contents with other similar poems throughout the book. Those localized poems are meticulously placed throughout the text to serve the social function of poetry. Tapahonso's oral tradition ideology requires a subordination of style (what many would identify as the literary art via Western standards) to the subject (audience memory and engagement) because it is so readily connected to tribal wellbeing. Thus, tribal writers hold an even greater burden when offering their texts as contributing social elements to collective survival. On a global level, Tapahonso's volume is vital as a noninvasive academic text. As a scholar, Tapahonso contributes to numerous fields of study: linguistics, history, anthropology, sociology, psychology, and so forth. The real functioning art of this volume stems from the sestina "The Canyon was Serene." Tapahonso...

Translation through the Macaronic: Gearóid Mac Lochlainn’s Sruth Teangacha/Stream of Tongues

Belfast performance poet Gearoid Mac Lochlainn's third book, Sruth Teangacha I Stream of Tongues (2002), is a pivotal book in poets career. A dual-language edition of selected poems accompanied by an audio disc of Mac Lochlainn's performative readings, Sruth Teangacha includes many poems from his first two books, Babylon Gaeilgeoir (1997) and Na Scealaithe (1999), which were published in Irish alone. Both a culmination of his work to date and a new departure in self-presentation, Mac Lochlainn's Sruth Teangacha widens his audience to include readers of English and readers with limited pro ficiency in Irish. In a fascinating, if brief, essay in his concluding Author's Notes, Mac Lochlainn grapples with what he calls the Catch 22 facing writers in Irish: dilemma of having to choose between being read by Anglophones in English translation or of not being read by them at all.1 Unlike writers in a dom inant language, who can blithely regard translation as welcome supplementary recognition, writers in minority indigenous languages like Irish must square hazard of invisibility with predicament of being read by many in colo nial tongue that has almost supplanted their language, and which they have spurned as a literary vernacular. Given radical inequality between glob al hegemony of English and contracted domain of Irish, wider audience that translation secures for Gaelic poet may be seen as gained at cost of further assimilation into a mainstream largely inimical to language.2 The crossover into dual-language publication is a moment of danger in career of any Gaelic poet: history of Gaelic-English contact has made him or her acutely aware of traditional association of translation with defection and

Advanced videogame consoles ‐ a new and unrecognised threat to secure service provision?

Games consoles are ubiquitous in the community, and increasingly in demand in secure forensic psychiatric settings. They contain a range of sophisticated technologies, which may pose a significant security risk, including provision for secure wireless communication, Internet access, playing and duplication of video and audio discs, and storage of large amounts of potentially worrying video and audio content. Staff awareness of this risk is limited by ignorance and the perception that games consoles are ‘toys’ for the use of children and adolescents. This paper highlights the risks related to specific machines and provides guidance on effective management of these risks.

Audio and Video Equipment Basics for Libraries (review)

AUDIO LIBRARIES Audio and Video Equipment Basics for Libraries. By Jim Farrington. (Music Library Association Basic Manual Series, No. 5.) Lanham, MD: Scarecrow Press, 2006. [viii, 144 p. ISBN 0-8108-5716-2; ISBN-13 978-08108-5716-2. $45.] Illustrations, index, bibliography, sources for equipment reviews, glossary. The need for audio and visual playback equipment has existed since libraries began collecting media early in the twentieth century. As streaming media and portable MP3 and video players change how patrons experience music and film, many libraries are reexamining their audiovisual formats, equipment, and listening spaces. Audio and Video Equipment Basics for Libraries, with its focus on past, present, and future playback technologies, offers relevant and insightful information for those involved with or interested in listening and viewing logistics in the library setting. While most books on the market are geared towards the audiophile, sound archivist, or home theater enthusiast, this welcome publication presents information and advice specific to a library's needs, collections, and budgets. Farrington is an eminently qualified author. Formerly the music librarian and director of the World Music Archives at Wesleyan University, he is currently the head of public services of the Sibley Music Library at the Eastman School of Music. He teaches a seminar on the history and aesthetics of sound recordings at the Eastman School of Music and wrote the article Preventive Maintenance for Audio Discs and Tapes (Notes 48, no. 2 [December 1991]: 437-45). A past president of the Association of Recorded Sound Collections (ARSC), Farrington remains involved in the association and currently serves as the Music Library Association's liaison to both ARSC and the International Association of Sound and Audiovisual Archives (IASA). His writing demonstrates that he is conversant with current trends and practices and possesses a thorough understanding of both audio and video. The breadth of this volume is impressive. It addresses most of the challenges one might encounter when designing or redesigning listening areas, ordering and maintaining equipment, or developing a circulation policy for audio equipment. The book is divided into six chapters on the following topics: the listening environment, source components, video, electronics, sound producers, and miscellaneous. Farrington presents brief histories of the various formats, explains how they function, discusses desirable features in playback equipment, and provides tips to improve sound and prolong equipment life. He reviews all of the current and some older audio and video technologies, as well as some that will appear in the next few years. Farrington mentions commercial streaming audio services such as Naxos and Classical Music Library, but the focus in this volume is clearly on audio and video equipment in the library. …

Copy protection of digital audio compact discs

The ability of a data reader, such as a CD-ROM drive, to access, extract, or otherwise read the data on a digital audio compact disc provides a problem for the music industry. A user can use his CD-ROM drive to read the data from an audio disc into a computer file, and then that data can be copied. To provide copy protection, errors are deliberately introduced into the data on a CD, but these errors are of a type which are generally transparent to an audio player but which will interfere with the reading of the audio data by a data reader. According to the standards, the data on a CD is encoded into frames by EFM (eight to fourteen modulation). Each frame has sync data, sub-code bits providing control and display symbols, data bits and parity bits, and includes 24 bytes of data, which is audio data for a CD-DA. The standard requires that 98 such frames are grouped into a sector. To provide copy protection, each sector is provided with a non-standard number of frames, for example, has 99 rather than 98 frames. Then the S0 and S1 sub-code synchronisation patterns are placed one frame later than they otherwise would be, but the data within each frame remains the same. An audio player would divide the 24 bytes of data from each frame of the sector into 4 byte samples and continue playing the disc, albeit with an inaccurate time display. Howewer, a data reader used to read audio data from the CD-DA to enable a copy to be made, would produce a copy having a degraded quality of sound.

Digital audio disc recorder

Disclosed is a digital audio disk recorder with improved ease of use, which can easily and efficiently superimpose a take of a short sound during broadcasting. In order to output takes of a plurality of short sounds, buttons “Key Name” corresponding to the takes of the sounds are displayed on a display screen for monitoring a state of broadcasting. By operating any of the buttons during broadcasting of a program for broadcasting displayed as a play list, the take of the short sound assigned to the button can be superimposed on a signal being broadcasted.

Early experiments on optical disc storage

Optical technology was early proposed to attain information density higher than 10 Gb/in/sup 2/ with fast data transfer for storage of video, audio, or computer data either using holography or bit-by-bit memory architectures. We present how the concepts and technological issues have progressed at THOMSON-CSF and in other laboratories for the demonstration of an optical pickup enabling the readout of a 30-min TV program recorded as microtips on a spinning disc. The main technical breakthroughs are presented until first commercial success was achieved with the compact optical audio disc (CD) and evolution toward the optical CD-ROM and the DVD. Future research directions for achieving extremely high capacity in a compact system are also discussed.