Magnetic Tape Recording Research Articles

Simulation Analysis of Thermal Decay and Read-Write Characteristics Depending on the Structure of Sputtered Tape Media

We developed a magnetic recording simulator that takes into account thermal agitation by employing a probabilistic switching model based on the Arrhenius-Neel equation. Using this simulator, we investigated the impact of Capped and <italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">H_k</i> -Graded media on sputtered perpendicular media for magnetic tape recording. Our simulation results were in good agreement with the experimental data, as evidenced by the consistency of the M-H curves and read-write characteristics. Specifically, we found that the use of Capped media enhances writability, but it also increases the transition noise, while Graded media has no significant effect on writability. Furthermore, our thermal decay simulation showed a correlation between the reproduction output decay and the <italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">M_r/M_s</i> decay, and no clear relationship between the media SNR decay over time and the media <italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">K_uV/k_BT</i> . These findings illustrate the potential of our simulator as a valuable tool for designing magnetic media.

Listening in the Field: Recording and the Science of Birdsong by Joeri Bruyninckx

Reviewed by: Listening in the Field: Recording and the Science of Birdsong by Joeri Bruyninckx Rachel Mundy (bio) Listening in the Field: Recording and the Science of Birdsong By Joeri Bruyninckx. Cambridge, MA: MIT Press, 2018. Pp. 256. Listening in the Field offers a narrowly focused and deeply researched history of sound recording's impact on avian bio-acoustics from 1880 to 1980. The book examines a century of recording technology used to document birdsong in the United States and Europe, with analog sound recording at its center. No mere historical surveyist, Bruyninckx takes his reader from songbird research into much broader questions about how data gets made, and how and when technology is part of that process. [End Page 243] Starting with music notation and moving through magnetic tape recording, Listening in the Field explores the study of birds through the lens—or rather, filter—of a century of analog sound recording. Bruyninckx starts his story in the phonograph era and concludes it with the advent of digital sound recording in the 1980s. The result is a compact, linear narrative about the science of birdsong that parallels developments in analog audio technology. Yet in addition to exploring the history of avian bioacoustics, Bruyninckx uses that history as a case study in the interplay between sound and sight as scientists standardize and debate what evidence should sound and look like. These topics are structured through five chapters and a conclusion that explore the relationship between avian bioacoustics, sound recording, and visual evidence. Organized chronologically, the pages traverse technologies of sound transcription that range from musical notations of birdsong in the 1880s to printed spectrographic images in the 1970s. Chapter 1, "Eavesdropping in the Wild," lays out the structure of the book and frames its central question, "What does it take for an ephemeral sound, a faint cry, to be registered under the unsympathetic circumstances of field research, and to be recognized as an object of scientific evidence?" (p. 3). Chapter 2 turns to the experimental transcriptions that shaped studies of birdsong from the 1880s until the 1930s. While this topic has been analyzed elsewhere by authors such as Emily Doolittle and David Rothenberg, Bruyninckx contrasts it with the "sterile" aesthetic that emerged with mobile sound recording equipment in the 1930s (ch. 3). The third chapter incidentally includes a wonderfully detailed history of Cornell University's avian bioacoustics program and sound library. In chapter 4, Bruyninckx explores the criteria dividing amateur from professional listeners in "citizen science" programs like Cornell's, and in chapter 5, he demonstrates the negotiation between aural and visual media that characterized "professional" ornithological uses of the sound spectrograph. It is in the fifth chapter that Bruyninckx hits his stride as a historian of science, drawing out the ambiguities that characterize the making of science through the story of the sound spectrograph, a mechanical ear that supplemented human listeners in avian bioacoustics. Bruyninckx shows how ornithologists who adopted the tool balanced quantitative data with qualitative decision-making about what counted as a phrase, a syllable, or a song. While the book lends itself to cumulative reading, this is a chapter that would be particularly well suited as an excerpt for interested readers in the history of science, sound studies, or related fields. As a study in evidence, the book shows how "scientific recordings were never only scientific objects." Any reader interested in birdsong will be delighted by the depth of historical research in this book. At times, I wished its analysis of evidence did more, particularly as this deconstructive trope has been applied elsewhere in science and technology studies with more attention to social context. That "something more" begins to emerge in the [End Page 244] conclusion, however, which notes that the "noise" that is routinely removed from bioacoustic recordings of birds is, in fact, an important fact in birds' lives, one with substantial ecological and environmental implications. Listening in the Field is one of the best books of its kind, exploring an engaging and timely topic with a winning combination of focused research and pointed insights to show us the best of what the history of science has to offer. It will be a welcome read...

Physical modelling for analog tape emulation

Reel-to-reel magnetic tape recording has a unique and specific sound which is highly sought after by music recording engineers. This talk will discuss the use of physical modelling signal processing to create algorithms which can emulate the sound of any reel-to-reel tape recorder, including ones which may not actually exist in the real world. These algorithms are designed to be used in modern music production software, meaning that they must be able to process audio in real-time with minimal latency, and offer interactive controls to the end user.

A Reassessment of Wolfgang Sichardt’s 1936 Field Recordings of Swiss Yodel

Historical field recordings offer insight both into past performance routines and into the processes and contexts of musical practices in their time. In the wake of renewed interest in musical traditions of the alpine region, I reassessed the magnetic tape recordings created by the Jena University doctoral student Wolfgang Sichardt (1911–2002) from multiple perspectives. The premises and context of the field research in 1936 are reconstructed, in part based on original correspondence; the reception and impact of the research in Germany and Switzerland are assessed; and the exact origin of the recordings is determined wherever possible. Descriptive transcriptions of the entire corpus of yodel and alphorn music visualize the content. The 1936 field recordings, made by Sichardt during a six-week field trip to different areas of Switzerland, document yodels, folk songs, and alphorn melodies on 12 magnetic tape reels, recorded with the latest technology at the time, the AEG Magnetophon K-2. Although the results were published afterward (Sichardt, 1939), the magnetic tape recordings remained private until they were donated to the Vienna Phonogram Archive in 2008, and only in the past decade have they been discovered by researchers.

The Maniac-Making Machine: A Media History of Delayed Auditory Feedback.

Historians have shown how categories of unwanted sound-that is noise-have been subject to projects of technological abatement and domestication. Less has been written on how noise relates to the production of new categories of personhood. This article traces how military, medical, and scholarly speech-hearing researchers developed "delayed auditory feedback" (DAF), a disruptive and initially unwanted echo effect produced via magnetic tape recording, since the late 1940s. It argues that the emotional, spatial, and temporal ambiguities raised by DAF offered key perceptual resources for constructing modern speech-hearing science as a discipline and for reimagining the technologically mediated speaking-hearing human subject. By prying open the interval between vocalization and self-hearing, DAF afforded researchers a new domain of experimentally performable auditory subjectivity, one in which they could more readily distinguish clients from research subjects, auditory malingerers from the "organically" deaf, and cybernetic "closed-loop" from stimulus-response "open-loop" audiological models.

Facile and Low-Temperature Synthesis of γ-Fe2O3 Nanoparticles with Thermally Stable Ferrimagnetism for Use in Magnetic Recording Tapes

Maghemite, γ-Fe2O3, has regained importance as a magnetic tape storage material for the big data era due to its low cost and long-term durability. However, the conventional synthesis of γ-Fe2O3, wh...

How to turn interior monologues inside out: epistemologies, methods, and research tools in the long twentieth century

ABSTRACT This paper addresses the interior monologue as a “sonic thing” whose elusive nature prompted a wide range of research initiatives in the long twentieth century. Neurophysiologists, developmental psychologists, psychoanalysts, and linguists shared an increasing interest in what humans hear when talking and listening to themselves. From diverse disciplinary perspectives, they agreed that “interior monologues” or related phenomena such as “inner speech” are crucial to human cognition, the psyche, and the faculty of speech. And all of them saw these phenomena as constituting important theorems in their own disciplines. In order to investigate interior monologues, the scholars and scientists presented here attempted to turn them inside out, making creative use of a great variety of research tools. A pivotal figure in this respect was the Stanford-based linguist Ruth Hirsch Weir, who, in 1962, produced magnetic tape recordings of her son’s “crib talk”. Interpreting the infant monologue as a precursor of the interior monologues of adults, Hirsch Weir brought together seemingly irreconcilable work on “inner language” by Lev Vygotsky, Sigmund Freud, and Roman Jakobson. In turn, her study inspired a series of further research initiatives – among them Jacques Lacan’s work on the “autonomous play of speech” in children and adults.

Construction of new codes in term‐rank metric

This study investigates codes in the term-rank metric. These codes can be used to correct crisscross errors in a ( M × N ) matrix. These errors can be found in memory chip arrays, in magnetic tape recordings, or in the parallel-channel system with interference. In this study, the authors will build an algorithm for computing term-rank of a matrix and new construction of term-rank codes. Single error-correcting codes in the term-rank metric are considered and help us build a generator matrix and parity-check matrix for term-rank codes. Research results derived from this study show that the term-rank metric is suitable for correcting crisscross errors.

Reflexões em torno do teatro-música de Constança Capdeville

Constança Capdeville é a maior representante do teatro-música em Portugal. As suas composições vão além do musical, incluindo recursos extramusicais, como adereços, luzes, imagens, elementos teatrais e gravações em fita magnética.Esses recursos foram introduzidos nas suas obras, seja para estabelecer ambientes, estados emocionais ou para definir espaços. As obras de teatro-música de Capdeville, apesar de seu sucesso, também suscitaram reações controversas no público. Na perspetiva da compositora, a ópera e o concerto tradicional tinham terminado e, portanto, o conceito do palco deveria ser repensado. Capdeville referiu que, muitas vezes, teve que resolver esse problema criando os seus próprios palcos. Neste artigo, discutiremos o conceito de teatro-música no contexto da música contemporânea portuguesa e as suas influências nas composições de Capdeville.

Microwave-Assisted Magnetization Reversal in Dispersed Nanosized Barium Ferrite Particles for High-Density Magnetic Recording Tape

This paper investigates microwave (MW)-assisted magnetization reversal (MAMR) in dispersed nanosized barium ferrite (BaFe) particles. MAMR in dispersed nanosized BaFe particles was observed using vector network analyzer ferromagnetic resonance spectroscopy with coplanar waveguides, in this investigation. The average size of BaFe particles was 1750 nm3. A frequency-dependent reduction in the switching field was observed in response to an MW impulse of duration 50 ns and with a frequency of approximately 22 GHz. This result suggests that MAMR was observed in dispersed nanosized BaFe particles.

Anisotropy of Stable Single Domain Ferrimagnetic Particles in a Rock Sample from Gyroremanent Magnetization and Comparison with Other Anisotropy Methods

The orientation of stable single domain (SSD) ferrimagnetic particles in an igneous rock sample was determined by a sensitive technique utilizing gyroremanent magnetization (GRM). Components of GRM were measured in the sample upon exposure to an alternating field (AF) at various orientations in 3 orthogonal planes. The major components of GRM exhibited a sin(2θ) dependence on AF orientation in the respective perpendicular planes. This was in accordance with theory [1] and contrary to some previously reported experimental results on magnetic recording tape, which produced a distorted sin(2θ) dependence of the GRM [1]. The explanation is likely due to the SSD ferrimagnetic particles in the rock sample being more dispersed (less interacting) compared to the highly interacting SSD particles in the magnetic tape sample of the previous study. The GRM results were consistent with another remanence anisotropy method, anisotropy of isothermal remanent magnetization (AIRM). This method again measures the anisotropy of the remanence carrying ferrimagnetic particles, but the IRM is also acquired by larger multidomain (MD) particles as well as by the SSD particles. The results were also consistent with the visible rock anisotropy (petrofabric), the anisotropy of magnetic susceptibility (AMS), and the shear wave velocity anisotropy. A comparison of all the methods demonstrated that the fine SSD particles, which make up only a small proportion of the rock, were aligned in quite a similar orientation to that of the main rock forming minerals that constituted the bulk of the sample.

Preservation and technological obsolescence: Portuguese contemporary musical heritage in perspective

ABSTRACTThis paper seeks to put into perspective the current situation of preservation and performability of a certain Portuguese contemporary music, known as Portuguese musical avant-garde, focusing on the preservation of experimental music from 1960 onwards. This strives to problematise this subject by not only presenting the creative context to these specific musical works but also the main priorities around their documentation and preservation. Furthermore, we also set out actual efforts to retrieve as many musical works as possible, specifically by gathering together all the facets of the musical works, including their magnetic tape recordings. In addition, this paper also approaches current composer concerns about the future survival of their own musical works.

Electroacoustic Music At CLAEM: A Pioneer Studio in Latin America

AbstractDuring the 1950s and ’60s, many composers began exploring the possibilities provided by commercially available magnetic tape recording and electronically produced sound. In Latin America, the most successful early electroacoustic studio was hosted at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM), part of the Torcuato Di Tella Institute in Buenos Aires, Argentina. This article chronicles the eight years of existence of CLAEM's Laboratorio de música electrónica (1964–1971), and its role in the training of composers hailing from Argentina, Bolivia, Brazil, Colombia, Costa Rica, Chile, Ecuador, Guatemala, Mexico, Peru, Puerto Rico, Uruguay, and the United States. This historical account of pioneering Latin American electroacoustic music provides insight into the aesthetic and technical developments that earned the laboratory at CLAEM a place in the regional and transnational world of contemporary music making and demonstrates the crucial role of locality in the adoption, consumption, and rearticulation of international musical models.

Forensic audio authentication analysis technique of first or higher generation copies of analog magnetic audio tapes

In forensic audio examination, standard listening and visual sound spectrogram analysis methods often lead to incorrect conclusions due to the losses in data when the tape is copied. Furthermore, conducting the standard examinations on audio files which are digitally edited and re-recorded on the tapes, leaving very little trace behind, also result in incorrect decisions made by forensic experts. In this study, a novel and a very simple technique was developed, where the electronic edit traces on an electronically edited tape become easily detectable on copy generation tapes. Thus, regardless of the duplication speed, copied tapes can be analyzed for their originality and integrity with this technique and digital changes on them can be determined. The technique is based on increasing the tape playback speed by modifying the playback system of a player device. This essentially alters the time base of the signal and expands the low frequency scale of the recording in the frequency domain, and makes manipulation marks easily observable. It can be applied to most analog magnetic tape recorder devices. Edit marks can be precisely detected with minimal loss of time by using specially modified nonstandard devices rather than available conventional standard devices.

Discrete/Continuous: Music and Media Theory after Kittler

Research Article| April 01 2017 Discrete/Continuous: Music and Media Theory after Kittler Alexander Rehding, Alexander Rehding Convenor ALEXANDER REHDING is Fanny Peabody Professor of Music at Harvard University. He is the author of Hugo Riemann and the Birth of Modern Musical Thought (Cambridge University Press, 2003), Music and Monumentality (Oxford University Press, 2009), and a monograph on Beethoven's Ninth Symphony for OUP's Oxford Keynotes series (forthcoming in 2017). He is editor-in-chief of the Oxford Music Handbooks Online series, and was awarded the 2014 Dent Medal. Search for other works by this author on: This Site PubMed Google Scholar Gundula Kreuzer, Gundula Kreuzer GUNDULA KREUZER is Associate Professor of Music at Yale University. Her monograph Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera is forthcoming from the University of California Press. Other publications include her award-winning Verdi and the Germans: From Unification to the Third Reich (Cambridge University Press, 2010) and her edition of Verdi’s chamber music for The Works of Giuseppe Verdi (University of Chicago Press, 2010). She has served as reviews editor for Opera Quarterly and in 2015–16 was an Italian Academy Fellow at Columbia University. Search for other works by this author on: This Site PubMed Google Scholar Peter McMurray, Peter McMurray PETER McMURRAY is a musicologist and media artist. He is currently a Junior Fellow at the Harvard Society of Fellows, where he is completing a book and film project on sound and Islam in Turkish Berlin. He is coeditor of a special issue of Twentieth-Century Music on magnetic tape recording (Spring 2017). Other research interests include histories of sound technology, the physiology of hearing, and the current refugee crisis. Search for other works by this author on: This Site PubMed Google Scholar Sybille Krämer, Sybille Krämer SYBILLE KRÄMER is Professor of Theoretical Philosophy at the Free University of Berlin, specializing in questions of media. She is a founding member of the Hermann von Helmholtz Center for Cultural Techniques, and is especially known for her work in the research group “Image—Writing—Number.” She is the author of numerous books, including Medium, Messenger, Transmission (Amsterdam University Press, 2015). A member of the German and European Research Councils and of the Berlin Wissenschaftskolleg, she holds an honorary doctorate from the University of Linköping (2016). Search for other works by this author on: This Site PubMed Google Scholar Roger Moseley Roger Moseley ROGER MOSELEY is Assistant Professor of Music at Cornell University. He is the author of Keys to Play: Music as a Ludic Medium from Apollo to Nintendo (University of California Press, 2016) and of articles on topics ranging from eighteenth-century keyboard improvisation to contemporary technologies of musical recreation. He is also active as a collaborative (forte)pianist. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2017) 70 (1): 221–256. https://doi.org/10.1525/jams.2017.70.1.221 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Alexander Rehding, Gundula Kreuzer, Peter McMurray, Sybille Krämer, Roger Moseley; Discrete/Continuous: Music and Media Theory after Kittler. Journal of the American Musicological Society 1 April 2017; 70 (1): 221–256. doi: https://doi.org/10.1525/jams.2017.70.1.221 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search At first blush, the pair discrete/continuous seems to take us far from the concerns of musicology and place us firmly in the realm of statistics, data analysis, and number crunching. Put graphically, “discrete data” translates into dots or interrupted lines, while “continuous data” implies a curve. This would mean counting and measuring—how can these activities be relevant to music? Our initial association might be with computers, but it is not necessary to invoke that squishy entity called the “digital humanities” here.1 We fare better if we think of the discrete/continuous pair in the context of a different and seemingly outmoded approach to music aesthetics. Going back in time, beyond the influential Kantian tradition, we return to Gottfried Wilhelm Leibniz (1646–1716) of almost a century earlier, the great rationalist and mathematician who invented calculus from his Hanover home at the same time as Newton in Cambridge. Leibniz understood music as... Article PDF first page preview Close Modal You do not currently have access to this content.

Multimetal-Substituted Epsilon-Iron Oxide ϵ-Ga0.31 Ti0.05 Co0.05 Fe1.59 O3 for Next-Generation Magnetic Recording Tape in the Big-Data Era.

From the viewpoints of large capacity, long-term guarantee, and low cost, interest in magnetic recording tapes has undergone a revival as an archive storage media for big data. Herein, we prepared a new series of metal-substituted ϵ-Fe2 O3 , ϵ-Ga(III) 0.31 Ti(IV) 0.05 Co(II) 0.05 Fe(III) 1.59 O3 , nanoparticles with an average size of 18 nm. Ga, Ti, and Co cations tune the magnetic properties of ϵ-Fe2 O3 to the specifications demanded for a magnetic recording tape. The coercive field was tuned to 2.7 kOe by introduction of single-ion anisotropy on Co(II) (S=3/2) along the c-axis. The saturation magnetization was increased by 44 % with Ga(III) (S=0) and Ti(IV) (S=0) substitution through the enhancement of positive sublattice magnetizations. The magnetic tape media was fabricated using an actual production line and showed a very sharp signal response and a remarkably high signal-to-noise ratio compared to the currently used magnetic tape.

Multimetal‐Substituted Epsilon‐Iron Oxide ϵ‐Ga0.31Ti0.05Co0.05Fe1.59O3 for Next‐Generation Magnetic Recording Tape in the Big‐Data Era

AbstractFrom the viewpoints of large capacity, long‐term guarantee, and low cost, interest in magnetic recording tapes has undergone a revival as an archive storage media for big data. Herein, we prepared a new series of metal‐substituted ϵ‐Fe2O3, ϵ‐GaIII0.31TiIV0.05CoII0.05FeIII1.59O3, nanoparticles with an average size of 18 nm. Ga, Ti, and Co cations tune the magnetic properties of ϵ‐Fe2O3 to the specifications demanded for a magnetic recording tape. The coercive field was tuned to 2.7 kOe by introduction of single‐ion anisotropy on CoII (S=3/2) along the c‐axis. The saturation magnetization was increased by 44 % with GaIII (S=0) and TiIV (S=0) substitution through the enhancement of positive sublattice magnetizations. The magnetic tape media was fabricated using an actual production line and showed a very sharp signal response and a remarkably high signal‐to‐noise ratio compared to the currently used magnetic tape.

What to Do with All Those Cassettes.

The article discusses the digitization of videocassettes through referencing the author's experience of doing so, including in regard to the degradation of the magnetic recording tape in videocassettes and editing digitized video recordings.

Lateral Friction Behavior of a Thin, Tensioned Tape Wrapped Over a Grooved Roller: Experiments and Theory

Effects of friction forces on the lateral dynamics of a magnetic recording tape, wrapped around a grooved roller are investigated experimentally and theoretically. Tape is modeled as a viscoelastic, tensioned beam subjected to belt-wrap pressure and friction forces. Including the effects of stick and slip and velocity dependence of the friction force render the tape's equation of motion nonlinear. In the experiments, tape was wrapped under tension around a grooved roller in a customized tape path. The tape running speed along the axial direction was set to zero, thus only the lateral effects were studied. The grooved roller was attached to an actuator, which moved the roller across the tape. Tests were performed in slow and fast actuation modes. The slow mode was used to identify an effective static, or breakaway, friction coefficient. In the fast mode, the roller was actuated with a 50 Hz sinusoid. The same effective friction coefficient was deduced from the fast actuation mode tests. This test mode also revealed a periodic stick–slip phenomenon. The stick-to-slip and slip-to-stick transitions occurred when the tape vibration speed matched the roller actuation speed. Both experiments and theory show that upon slip, tape vibrates primarily at its natural frequency, and vibrations are attenuated relatively fast due to frictional and internal damping. This work also shows that an effective friction coefficient can be described that captures the complex interactions in lateral tape motion (LTM) over a grooved roller.

1. Overview of Magnetic Tape Recording Technology

1. Overview of Magnetic Tape Recording Technology