Comments by "Neil Forbes" (@neilforbes416) on "Technology Connections"
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Emile Berliner established the Deutsche Grammophon Gesellshaft(German Gramophone Company) around the mid-to-late 1870s. His initial trademark on single-sided discs was the Aufnahmende Engerl(Recording Angel) embossed on the unrecorded side of the disc. Within a decade he'd travelled to England where he established a British division called The Gramophone Company Of England Ltd. and it was through the British division that Berliner first acquired the painting that was to provide the new trademark, it was of a Jack Russell Terrier listening to "his master's voice" on, initially a cylinder-based phonograph, but on request, the artist painted over the cylinder machine with a disc-playing gramophone, thus the trademark "His Master's Voice" was born. Ownership of the trademark would be held by Berliner but control of the trademark, and licencing its use would be vested in the British division of Berliner's empire. In the 1890s, Berliner travelled to the USA and set up the Victor Talking Machine Company in Camden, New Jersey. The new entity would licence the trademark from the British division. This arrangement lasted until the outbreak of WW1. After that war, Berliner lost control of his British and US companies. The Gramophone Company of England assumed TOTAL ownership and control of "Nipper" as the dog was named in the trademark, and Berliner's DGG had to licence the trademark it once owned, a bitter pill to swallow. DGG could only use the HMV trademark in Germany under the translation: "Die Stimme Seines Herrens", for export, they had to create a new brand, Polydor. In the meantime, Victor in the USA was using the HMV trademark, licencing same from The Gramophone Co. in England. Until 1929 when some reps from RCA came sniffing around the Victor plant, looking for somewhere bigger than what they had, so they could build more radios. RCA started as a division of General Electric but soon took on autonomy after getting hold of the Victor plant and brand-name, but that's all they should've got, no more. The HMV trademark licencing should've ended the minute the ink was dry on the deed of sale of the Victor plant and name to RCA and the Dog & Gramophone should not have been seen in America or Canada again until 1955. WW2 came and went, just prior to that war, The Gramophone Company had merged with Columbia Graphophone Company(a surviving remnant of a failed US venture) to form Electric & Musical Industries Ltd.[EMI], the year was 1938. The merger also brought the Parlophone brand into the mix as Columbia had gained this former Dutch-owned trademark as war booty from WW1. After the 2nd war, EMI expanded into Europe, its new German division, Electrola GmbH taking over control of the HMV trademark, leaving DGG having to use Polydor now for domestic as ell as export markets. Berliner himself was spared the ignominy of seeing all this as he was in his grave by then. Siemens bought out DGG. In America a new label, Capitol was launched just after the war, the new entity struggling to find its feet. A decade on and Capitol would become the infant member of the expanding EMI group. Infant, because EMI bought an established label rather than EMI setting the company up from scratch. EMI owned almost 95% of Capitol, the remaining 5-and-a-bit% held by Capitol's founder. It's here that EMI should've brought in the HMV brand, reappearing in the USA to carry the EMI British roster into the American market, particularly in the 1960s: The Beatles, Cliff Richard & The Shadows, Herman's Hermits, Manfred Mann, Billy J. Kramer & The Dakotas etc., drawn from EMI's HMV, Columbia and Parlophone labels, all together on HMV in the USA instead of scattered around the non-EMI labels like they were.
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D - A - C: Acronym! Not "DACK": Word! Acronyms ARE NOT WORDS and should not be spoken as words. Acronyms are individual letters that represent the initials of corporations, institutions or authorities, alternatively they represent names of scientific, technical or natural phenomena or devices. *Zum beispiel: EMI stands for Electric & Musical Industries, the British-based multinational music giant that owns the Dog & Gramophone trademark, His Master's Voice among its other trademarks(Capitol being one of the lesser trademarks). Under the HMV brand, EMI manufactured a wide range of consumer electronic products like TV sets(colour and monochrome), stereo and mono record players or radio/grams and, surprisingly, whitegoods, like chest freezers and suchlike. EMI also stands for Electro-Magnetic Interference, the noise you hear when listening to AM radio(FM is susceptible but not as much) during an electric storm(lightning strikes) or when someone operates an electric motored hand-tool(saw, drill, etc.) nearby. These represent the ONLY two uses of an acronym. EMI can only be used once for the corporate identity and once for the natural phenomenon just described, its uses are thus exhausted and cannot be used again for either purpose. By the way, *Zum beispiel, is German and means "For example"!
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Rainer67059: Your second paragraph brings up the point I was trying to make. I'm fully aware of discs with no region-encoding, And should that I were to copy a disc(to make a back-up), the region-encoding would not transfer to the copy. If I'm transferring what I've shot and uploaded to YouTube, onto DVD, there'd be no region-encoding as the software being used does not provide such a feature. However, the movie studios(other than those making pornography) wanted the feature to restrict the marketing of their product to selected countries. With videotape this restriction was imposed by the colour system being used, PAL through Britain, Irish Republic, most of Europe(except for those countries stupid enough to choose the utterly abominable SECAM system), parts of Asia, South Africa, Australia and New Zealand, NTSC in the USA, Canada, Mexico and a modified NTSC in Japan and other parts of Asia. In many VHS or Beta VCRs, where a choice of colour system had been provided, it was only ever PAL or NTSC. SECAM was, thankfully, NEVER included.
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15:52 I've said this before and I'll say it again. RCA had, and has no business using the "Dog & Gramophone" symbol of EMI's His Master's Voice. Prior to RCA buying out the Victor Talking Machine Company, Victor was using the HMV trademark UNDER LICENCE! Victor OWNED NO PART WHATSOEVER of the trademark. When RCA bought Victor in 1929, The Gramophone Company of England(9 years before merging with Columbia Graphophone Co. Ltd.) to form EMI should've revoked Victor's licence on the trademark so as to PREVENT Radio Corp. of America from getting their clammy hands on it. Thus with HMV secured with its rightful owners, when in 1955 EMI bought the lion's share of Capitol, they could then reintroduce the His Master's Voice trademark into the USA and Canada, along with the Parlophone and Regal/Regal Zonophone trademarks to ensure that EMI's roster of talent(Beatles, Gerry & The Pacemakers, Lulu, Herman's Hermits, The Hollies, Adam Faith and many other top BRITISH acts) wouldn't get farmed out to lesser labels.
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You tuned in to a STATION, not a channel! On a typical Australian colour TV set of the mid-1970s, you had a rotary tuner with thirteen channels(some sets had a UHF tuner that was activated by either a 14th position on the VHF tuner, or one of the unused channels swapped out with the "biscuit" that activated the UHF tuner, or, you pressed a button that selected between the tuners. Some sets only had VHF). Depending on whether you were in a capital city or a regional centre, you'd have a choice of two or four statons. In NSW for instance, if you were in Sydney you'd get the following: Ch.0 - hash; Ch.1 - hash; Ch.2 - Station ABN(ABC TV Sydney key station); Ch.3 - weak signal from Station NBN-Newcastle*; Ch.4 -slightly stronger signal from Station WIN-Wollongong*; Ch.5 - Weak signal from Station ABHN-Newcastle(ABC regional staton)*; Ch.5a - hash; Ch.6 - weak signal from translator for Station WIN-Wollongong*; Ch.7 - Station ATN-Sydney; Ch.8 - hash; Ch.9 - Station TCN-Sydney; Ch.10 - Station TEN(which should've been UTN)-Sydney; Ch.11 - hash(or weak signal from another of WIN's translators*). *Depended on where you were in the Sydney "basin", how good your antenna was and prevailing weather conditions. The point I'm making is, that a channel without a station to broadcast a signal thereon, is worthless.
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7:41 Here again you make the same mistake of assuming one audio channel is derived from vertical movement while the other channel is derived from horizontal movement. The method in transcribing stereophonic audio into the groove of a record was invented by Mr. Alan D. Blumlein, a technician working for the then-infant BRITISH organisation, EMI(The Gramophone Co.) Ltd., Hayes, Middlesex England which, by the way is the SOLE owner of the Dog & Gramophone "His Master's Voice" trademark, having inherited it as part of the merger of The Gramophone Co. and Columbia Graphophone Co.. RCA had ABSOLUTELY NO BUSINESS using the trademark as when RCA bought out Victor in 1929, Victor was no more than a mere licensee with absolutely NO OWNERSHIP, OR EVEN MINORITY SHARE in the HMV trademark, so they had zero right to sell the trademark to RCA and, as a consequence, had VIOLATED THEIR LICENCE to use the trademark.
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@akimbofurry2179 You underestimate the capacity of the single-layer DVD disc. From the get-go, the capacity of the disc was 4.7Gb, 2 gigabytes more than you gave them credit for. This was also the capacity for the first DVD+/-R discs(DVD+R or DVD-R) for home-burning of video content(home videos) or for file storage. Thus, a company transferring a feature movie to DVD(Digital Versatile Disc) should be able to get the entire movie onto one disc, with just a modicum of compression, remembering again the capacity was 4.7Gb, not 2.7Gb. A 2 Hr.40+m movie should, with the touch of compression, easily fit the 4.7Gb disc When the dual-layer DVD came along, the capacity increased to about 8.7Gb, not quite twice that of the single-layer disc but enough to provide more "headroom" for longer movies without needing any degree of compression. Some of the latter Harry Potter movies come within a sneeze of reaching 3 hours - epic features indeed! There is one huge drawback for DVD+R or DVD-R dual-layer discs, they're fine for storage of movies or data, but don't expect your home DVD player to handle them! I tried it! I burned some home movies onto a dual-layer disc and the player "just didn't want to know about them", totally refused to play the disc.
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@akimbofurry2179 I'll accept you had a "typo" and meant to type 4.7Gb for the DVD capacity, but what I'm saying is that the quality of video would not have suffered as much as what you suspect, in fact, the quality loss would be negligible. The movie would've, if processed by a competent DVD processing firm, presented with its full 16:9 wide-screen aspect ratio, and its audio transferred intact, in full stereo. Which brings me back to what I've suspected all along. The processing firm did such a shoddy job at transferring the movie to DVD that they needed to put it across two discs, like the old Laser Discs had to spread the movie(any title) across both sides of the 12-inch LP Record sized disc, technology gain = "goose-eggs!" A lot of early DVDs were single-layer, carrying titles of over 2 hours in length with wide-screen aspect ratio and stereo sound. But they were processed by COMPETENT corporations. Thus you need to look at the package of your movie to see who manufactured the disc(s). Perhaps you'll be lucky to come across a new copy of "Gangs Of New York" which may be a two-disc set, but the movie will be on the first disc and "bonus features" on the second disc because the movie will be processed by a company who knows what they're doing.
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Multi-region players were a scarce breed but the PAL Vs. NTSC bogie had been well and truly laid to rest with the DVD format. In terms of videocassette players, PAL-system VHS decks with NTSC playback(only) capability, or conversely NTSC-system decks with PAL Playback(only) capability were the beginnings of laying that bogie to rest. SECAM was not included in the playback capabilities as it was seen rightly for what it was, a pile of shit. Why bother with a colour system that the French couldn't even use in their TV studios? That's something those arrogant French never admit to! French TV stations were kitted out with PAL-system cameras, VTRs, Telecine, Vision Switching gear and everything else in studio that was related to the video output, it was only at the transmitter that the signal was transcoded DOWN to the woefully-inferior SECAM system. The reason was that attempt to use SECAM in the studio resulted in a gosh-awful mess on studio monitors when switching from camera to camera, or to VTR or Telecine, or vice-versa, the SECAM system was a dismal failure!
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Maybe the better thing to happen should be thus: 1929 Execs from RCA(then owned by General Electric as a minor division) go sniffing around the Victor plant at Camden NJ, see what's happening and suggest to RCA they get into the recording business and making the gramophones to play these records. When they approach Victor to offer to buy the company, Victor accepts the offer, but only for the plant and the "Victor" name, The trademark of HMV DID NOT belong to Victor and they had no right to on-sell that brand. RCA insists it wants the HMV brand and the head of Britain's Gramophone Company which, by then is a separate and wholly-British-owned entity as a consequence of WW1 steps in and BLOCKS RCA's acquisition of the HMV(His Master's Voice) trademark, which is the British company's own property, 100%.
Instead of RCA getting their hands on the HMV trademark, The Gramophone Company buys 100% of RCA! and becomes the owner of the Victor AND RCA brands which The Gramophone Company merges together to become RCA and markets the records in Britain under that brand. RCA still does NOT get to use the HMV brand in the USA but markets the records and gramophones under the RCA brand. The Victor brand being phased out under The Gramophone Co.'s orders so RCA WILL NOT BE PERMITTED to use the name "Victrola". Fast-forward to 1955 and The Gramophone Co. merging with Columbia Graphophone Co in England to form EMI in the 1930s, buys out a touch under 95% of an insignificant little record label called Capitol. EMI then imposes the HMV trademark as well as the RCA trademark on Capitol to manufacture and distribute, while RCA is reduced to being the electrical division only. Capitol will be rebranded as EMI North Americas Ltd. and relocated to Toronto, Canada as Canada is a British Commonwealth member country and EMI is British, after all. EMI also buys up CBS so they can use the Columbia name in the USA and Canada(after all, it was Columbia Graphophone, England that re-established the Columbia name in the USA anyway) so that His Master's Voice and Columbia are established as EMI's flagship labels in the USA and Canada, as they already are in EMI's other territories and the Capitol and RCA brands being reduced to their proper status as "two of the other minor insignificant trademarks" in the EMI group. Colour TVs would be made in Britain for the Canadian and US markets, for Canada they'd carry the His Master's Voice brand, for the USA they'd carry the lesser RCA brand. RCA in the USA will be limited to making radios and stereo gear. As for video technologies, EMI would put an Immediate block on RCA doing ANYTHING in that field. That work would be carried out at EMI's British factories. So the CED system would never be made and no money wasted on it. Instead, EMI would licence the Pioneer laserdisc system(I'm not giving credit to Philips here because Philips makes crap!).
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In 1929 when RCA(still part of General Electric) bought the plant at Camden, New Jersey, and the Victor brand-name, that's ALL they should've been allowed to buy. The His Master's Voice brand was 100% owned by The Gramophone Company of England Pty Ltd., and The Gramophone Company should've IMMEDIATELY REVOKED The Victor Talking Machine Comany's licence to use the HMV trademark. Prior to World War One, The Gramophone Company of England held 50% of the HMV brand, the other 50% being held by what was, at that time, the British company's German parent, Deutsche Grammophon Gesellshaft mbH, under which, the trademark was known as "Die Stimme Seines Herrens". Emile Berliner, who had established the German and British companies, also set up the Victor Talking Machine Company in Camden, New Jersey, but only as an afterthought. Victor was an insignificant minor side-operation. It owned not even the smallest fraction of 1% interest in the HMV trademark and the patents on the trademark and the products made, disc-playing gramophones and the discs themselves were registered by DGG and The Gramophone Co. Victor played ZERO part in the development and/or improvement thereof, they just made and sold the product, nothing more. In 1918, after WW1, DGG lost the Gramophone Co and Victor Talking Machine Co. as "spoils of war". Indeed, DGG could now only use the HMV trademark in Germany itself and only under licence from its former division, now fully-fledged independent company, The Gramophone Co. DGG found itself in a similar situation to its insignificant American offshoot, Victor. The HMV trademark was now 100% British-owned and Victor was now paying licence fees to Britain for the privilege of using the trademark and building the HMV gramophone for the US/Canada market and putting its own name on what was basically a British product. So that brings us back to 1929 and two jokers come sniffing around the Victor plant at Camden, initially just wanting greater floor space to expand radio production, but seeing what was going on, deciding to get in on the act, and here is where The Gramophone Co. should've said "STOP! You can buy the plant and the Victor name but the rights to the HMV brand are NON-TRANSFERABLE! The Brand is EXCLUSIVELY the property of The Gramophone Co. of England and will remain so until WE deem otherwise!"
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The better result would be that in 1929, instead of RCA buying Victor Taliking Machine Co., that RCA AND Victor both end up as being owned by The Gramophone Co. of England. RCA would still not get its grubby paws on the HMV trademark as that trademark would return to the British aforementioned company that solely owns it. Instead, the RCA and the Victor trademarks would be owned by, and used in Britain by The Gramophone Co. as record labels carrying American artists into the British market. When The Gramophone Co. and Columbia Graphophone Co. merged to form EMI in 1938(1931 sounds far too early and Columbia Graphophone was relaunching the Columbia brand in America at the time), then the RCA and Victor brands would be kept separate and used as described earlier. In 1955 when EMI bought out the largest chunk of Capitol, the HMV brand would then return to the USA and Canada. CBS should then be bought by EMI so as to establish in the USA, the HMV and Columbia Brands as flagship labels of EMI North Americas Pty. Ltd., based *NOT in Hollywood California, but in Toronto, Ontario Canada as Canada is a British Commonwealth Country and EMI is a British company! With TV manufacture and marketing, EMI would make the sets for the American/Canadian markets at its British plants. The sets for Canada would be branded His Master'sVoice, the sets for the USA would be branded RCA, but the colour system would be a modified PAL system to accommodate America/Canada's 117 Volt/60 Hz power system. By EMI owning RCA and CBS, this would stop RCA falling into the hands of BMG and CBS into the hands of Sony.
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One correction: Known STATION at known time! A channel is nothing more than a chunk of spectrum space(7Mhz for PAL-system colour broadcasting, 6Mhz for NTSC in the analogue days - we'll ignore SECAM as it was a rubbish system). Without the STATION to broadcast its programme content across that range of bandwidth, you would get only static hash, same as when the station closed down for the night, as they did in the 1970s. A channel produces nothing, employs no-one, earns no revenue, pays no salaries, it can't, because a channel is ethereal. A channel's only physical representation is in the circuitry of the tuner used to select it. As you turn that knob(in those old days) your set goes clunk-clunk-clunk through 13, 15 or maybe 20 VHF channels but there may only be signals on three, they'd be the NBC, CBS or ABC affiliate for your area, or if your in a small town, you'd have two stations, each independent and carrying their pick of content from the three major networks plus some local shows produced in their own studios. The remaining channels will be blank unless a stray signal comes a-wafting its way past your antenna and it might be a distant independent or a network affiliate that you might sniff it up on Ch.6. Put it this way, if you're in an art gallery and see a painting that grabs your attention, do you give credit to a] the artist who worked and sweated blood to create it, or b] the canvas on which it was painted, ignoring the artist's efforts? Crediting the channel for TV shows is like crediting the canvas for the painting.
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Those 3" discs really were a fucking waste of time. Their capacity(storage) would've been around 20 minutes, about 125-200 Mb, so-called "CD-singles"..... HAH! A 45rpm record could easily carry an epic song like Gordon Lightfoot's 1976 release, "The Wreck Of The Edmund FitzGerald" which clocks in at over 7 minutes, and is in STEREO as well! Thus making these CD-singles REDUNDANT before they were even developed. What makes the record a "single" is that, on a turntable, one side is face-up and accessible to the pick-up arm, the other is face-down on the platter mat. The disc has the run-in groove leading to the modulated section of that groove, then out to the centre dead-wax(there's only one groove spiralling into the centre, so it's wrong to say "grooves" plural) which means there's no wasted capacity but these "CD-singles" when inserted to play, the laser, though playing one song at a time, has access directly to all the content of the disc(usually 3 or more songs, which means it's not a "CD-single") playing for 15 minutes, leaving 5 minutes wasted..... UTTERLY STUPID! The indented portion of the tray(15:25) was standard in players almost from the get-go, that's an early model player being used. The standard 5" disc with its initial 74-minute, then later 80-minute capacity is best suited to albums, even then you get a lot of wasted capacity as some albums when reissued in the format, may have only played for 30-45 minutes, leaving a lot of wasted capacity.... Ugh! As to ink discolouring the disc surface.... I've never seen that! Probably because the Australian firm, Disctronics took greater care in how they produced their discs.
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@kyandeiai Where a word(noun or adjective) begins with a consonant, it takes 'a' as its preposition. when the noun or adjective begins with a vowel, then it takes 'an' as it's preposition. The only time 'H' become silent is in "Hour", "Hourly", "Honour", "Honoured", "Honouring", "Honourable", "Heir", "Heirloom". At ALL other instances, the 'H' is aspirated(pronounced). "A historic event", "A horrible situation", "A horrendous accident", "A heroic deed", "A herculean effort", "A herbal remedy", and so on.
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If the size(disc diameter) of the MCA Laservision disc(I won't credit Philips as Philips make crap) was married to the method of encoding the video and audio content on a DVD, then a 12-inch disc, perhaps 2 discs, could've held the entire 11 seasons of M*A*S*H for example, or a 3-disc box-set of Classic Carry-On(Carry On Camping, Carry On Doctor, Carry On Again, Doctor, etc.), or a four disc set of the Harry Potter saga from "Philosopher's Stone" right through to "Deathly Hallows Part 2", and with home-burn, home movies burned to the format, the possibilities would be endless.
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Emile Berliner was the founder of Deutsche Grammophon Gesellshaft mbH in Germany. He also established a British division, The Gramophone Company of England Ltd. It was these two companies that, in the years leading up to WW1 shared ownership 50/50 of the Dog & Gramophone, "His Master's Voice" trademark. Berliner also set up the Victor Talking Machine Company in the USA but did so ONLY as an afterthought. Victor held no share whatsoever in the famous HMV trademark and used it ONLY under licence from DGG and The Gramophone Co. of England until 1918, and from 1918 from the British company only, as DGG had lost co-ownership as a result of the war, and could only use the trademark in Germany under licence from its former division. The Gramophone Co. should've put a halt to RCA acquiring the trademark when RCA bought the Victor name and plant in 1929. RCA already had its own trademark but Victor's only self-owned trademark was its own brand-name, the Dog & Gramophone trademark was NOT Victor's to do anything with except surrender the licence and let the trademark revert to its British owner. In 1938 The Gramophone Co. merged with Columbia Graphophone Company, the successful British orphan child of the failed US company of that name, to form Electric & Musical Industries Ltd., bringing together the Dog & Gramophone HMV trademark and Columbia's Magic Notes trademark to become the two flagship labels of EMI, while a third label, Parlophone, a former Dutch-owned label acquired as post-WW1 war booty by either Columbia Graphophone or The Gramophone Co., became the label for novelty acts until 1962 when four Liverpudlian kids were signed to the label....... When EMI bought Capitol in 1955 to make it a subsidiary of EMI(subsidiary = infant child), EMI should've FORCED RCA to relinquish the Dog & Gramophone trademark so it could be used in the USA under its CORRECT name, "His Master's Voice", as well as making Capitol distribute the Parlophone and(in lieu of CBS using the Columbia name), Regal-Zonophone labels as well as any other labels EMI would own in the coming decades, ensuring that ALL EMI's artist & group roster would appear on Capitol-distributed labels instead of getting farmed out to all and sundry non-EMI labels.
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The whole idea of quadraphonic sound was quite ridiculous, really. When you go to a concert tosee, say, the late, great Gene Pitney, for example. He's there on stage, IN FRONT of the audience and his backing band(or perhaps a full-blown orchestra) is behind HIM! So the sound you hear is IN FRONT of you, not around you, unless, that is, the auditorium is echoey, then the sound may bounce around the walls(like the Civic Theatre, Newcastle NSW Australia), which will give a false perception of depth of sound. But if the theatre's acoustics are properly designed, the sound will come only from in front of the audience, as it should. As to CDs, they were first introduced as a play-only medium for public consumption, but as computers developed further, blank 74-minute-capacity CD-R discs became available to burn your own choice of songs onto CD, then came 80-minute-capacity discs, but you could only handwrite any info on their labels with a marker pen, then came CDs with inkjet-printable labels and printers that could print onto those labels, and my creative urges went into OVERDRIVE! Not only could I put the music I WANTED on CD, but I could create a label design to better those commercial-issue CDs. And THEN..... Verbatim started marketing spindle-packs of CD-Rs with SILVER inkjet-printable surfaces.....WOW. These are what I'm using now and they look just BRILLIANT!
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If Pioneer had applied Sony's DVD-type methods to the Laserdisc, then it's conceivable that the entire 11-season run of M*A*S*H, including the movie-length final episode, "Goodbye, Farewell, Amen" could've been issued on 1 or perhaps 2 12-inch discs. Note here that I give Philips absolutely none of the credit for Laservision or DVD. Philips may have had the idea for these video formats, but if left to develop the product themselves, would've delivered an absolute unworkable mess. You only have to look back to that unmitigated failure, the N1000 and then N1500 "VCR" videorecorders that initially had the cassette shells made of stiffened cardboard, and the concentric spools(feed reel above the take-up reel) that used to mangle the tapes. Even the other European electronic goods makers like Telefunken's electrical goods division, Nordmende, Bosch, Blaupunkt, Grundig, AEG(Algemeine Elektric Gesellshaft) and others wouldn't even touch the system. So to spare the DVD or Laserdisc any embarrassment or stigma, I DON'T associate these product lines with the utterly incompetent Philips brand.
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D A C, A D C = Acronyms. Making them into words sounds, at best infantile, at worst imbecilic. D. A. C. - Digital (to) Analogue Conversion, A. D. C. = Analogue (to) Digital Conversion. Acronyms should only ever be uttered as individual letters, not made to words. Ram is a male sheep, but R. A. M. is Random Access Memory..... Arr-Ay-Emm(phonetic). E. M. I. is(corporate) Electric & Musical Industries Ltd. Ee Emm Eye(phonetic). It also stands for Electro-Magnetic Interference, which brings me to another point. Acronyms can have only two uses, 1) as the initials of a corporation or an institution or authority, and 2) to identify a phenomenon of science, technology or nature, as E.M.I. is there to represent. When used for one purpose, it can NOT be used again for the same purpose. That use is exhausted. A.P.R.A. stands for Australian Performing Rights Association, and has done since the mid-1920s but another organisation that regulates banks and financial institutions here in Australia has STOLEN the acronym. The other authority has been in existence for roughly 20 years and should be forced to change their acronym.
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"His Master's Voice" was developed by Emile Berliner in the late 19th Century, originally in German as "Die Stimme Seines Herrens". The artist, Francis Barraud painted the picture of a Jack Russell Terrier listening to the voice of his master on an Edison cylendar-playing phonograph which Berliner, as inventor of the disc-playing Gramophone, had at first rejected. but when Barraud made the alteration to replace the phonograph with a gramophone, Berliner adopted it as the trademark of his Deutsche Grammophon Gesselshaft and his offshoot, The Gramophone Company of England Ltd., which, between them would own the His Master's Voice name and trademark on a 50/50 shared basis. Berliner then, in the early years of the 20th Century, travels to an insignificant country called America and sets up, as an afterthought, a minor operation called Victor Talking Machine Company to manufacture gramophones to te British/German design and patent specs, and to make discs to play on those machines, again to British/German patents and specs (specifications). Victor would use the HMV trademark BUT NOT EVER OWN ANY PART of it. The HMV trademark would, up to 1914 remain 50/50 with DGG in Germany and The Gramophone Co. in England. Victor would only hold a licence to use the trademark. The only thing the American company owned was the factory at Camden, NJ and the Victor name. WW1, beginning in 1914 saw DGG lose its 50% stake in HMV, name and trademark, and at the end of that war in 1918, DGG had to apply to its former offshoot for a licence to use the trademark combined with the German translation of the name, "Die Stimme Seines Herrens" while The Gramophone Co. assumed 100% ownership of the trademark and name as war reparations. The Gramophone Co. held that 100% ownership until 1938 when it merged with Columbia Graphophone Co. to form EMI, that new entity then assumed 100% ownership of the HMV name and trademark, plus the names and trademarks of Columbia(Magic Notes) and Parlophone(Pound symbol). In 1929, 9 years before the merger, RCA sent a couple of execs to Camden NJ to "suss out" the Victor plant with the view to buying it to make radio sets(RCA was still just a division of GE at the time), saw what was going on, reported back to RCA bigwigs in New York and set about buying the plant and the Victor name, with the HMV trademark, but the snag was that the Dog & Gramophone HMV brand was NOT Victor's to sell, or even sub-lease. The trademark was still 100% the property of The Gramophone Co. The ONLY legitimate way for RCA to acquire the HMV brand was to become a subsidiary of The Gramophone Company, and sunsequently, a subsidiary of EMI in 1938. For this to happen, RCA would have to become EMI(North Americas) Pty Ltd and shift their headquarters to Toronto, Ontario, Canada! They still would not OWN the trademark, but would be allowed to use it provided the Victor name was ditched and replaced with the His Master's Voice name, the RCA brand would be a secondary label WITHOUT the Victor appendage. And in 1955 when EMI buys Capitol, Capitol then becomes EMI Records(USA) Pty Ltd and distributes all the EMI brands under licence except for Columbia, the Regal/Zonophone brand would substitute.
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