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Warehouse factory video recording and playback equipment

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CABSAT 2018

VIDEO ON THE TOPIC: How to Record Great Sound for Youtube Videos - Phillips Voice Tracer

It was the biggest disaster in the history of the music business — and almost nobody knew. This is the story of the Universal fire. Chuck Berry, By Jody Rosen. The fire that swept across the backlot of Universal Studios Hollywood on Sunday, June 1, , began early that morning, in New England.

At a. That night, maintenance workers had repaired the roof of a building on the set, using blowtorches to heat asphalt shingles. They finished the job at 3 a. But the roof remained hot, and some 40 minutes after the workers left, one of the hot spots flared up. The fire moved quickly. But the fire crews were hindered by low water pressure and damaged sprinkler systems and by intense radiant heat gusting between combustible structures.

Eventually the flames reached a 22,square-foot warehouse that sat near the King Kong Encounter. The warehouse was nondescript, a hulking edifice of corrugated metal, but it was one of the most important buildings on the acre lot. Its official name was Building To backlot workers, it was known as the video vault. Shortly after the fire broke out, a year-old man named Randy Aronson was awakened by a ringing phone at his home in Canyon Country, Calif. Aronson had worked on the Universal lot for 25 years.

In practice, this meant he spent his days overseeing an archive housed in the video vault. Aronson dressed and steered his car to Interstate 5. A few minutes later, the air picked up a harsh scent: the acrid odor of the fire, riding the early-morning breeze into Santa Clarita, roughly 20 miles from the backlot.

Aronson sped south. When he turned onto the Hollywood Freeway, he saw clouds of greenish-black smoke pouring into the sky. It was a. There, he found an inferno. Fire was blasting out of the building as if shot from giant flamethrowers. The heat was extraordinary. There were at least a dozen fire engines ringing the vault, and as Aronson looked around he noticed one truck whose parking lights seemed to be melting.

They rained water from the tops of ladders; they doused the building with foam fire retardant. These efforts proved futile. Before long, firefighters switched tactics, using bulldozers to knock down the burning warehouse and clear away barriers to extinguishing the fire, including the remains of the UMG archive: rows of metal shelving and reels of tape, reduced to heaps of ash and twisted steel. Heavy machinery was still at work dismantling the building as night fell.

The job was finished in the early morning of June 2, nearly 24 hours after the first flames appeared. The fire made news around the world, and the destruction of the video vault featured prominently in the coverage. But nearly all news outlets characterized the vault fire as a close call, in which worst cases were averted. But journalists moved on from the story, and there has never been a full accounting of film and video losses in the fire. The confusion was understandable.

Universal Studios Hollywood was a movie backlot, not a record-company headquarters. One of the few journalists to note the existence of the UMG archive was Nikki Finke, the entertainment-industry blogger and gadfly. In a Deadline. A majority of what was formerly stored there was moved earlier this year to our other facilities.

Of the small amount that was still there and waiting to be moved, it had already been digitized so the music will still be around for many years to come. These reassuring pronouncements concealed a catastrophe. When Randy Aronson stood outside the burning warehouse on June 1, he knew he was witnessing a historic event. A master is a one-of-a-kind artifact, the irreplaceable primary source of a piece of recorded music. According to UMG documents, the vault held analog tape masters dating back as far as the late s, as well as digital masters of more recent vintage.

And it held session masters, recordings that were never commercially released. UMG maintained additional tape libraries across the United States and around the world. There were recordings from dozens of record companies that had been absorbed by Universal over the years, including several of the most important labels of all time.

The vault housed tape masters for Decca, the pop, jazz and classical powerhouse; it housed master tapes for the storied blues label Chess; it housed masters for Impulse, the groundbreaking jazz label. And it held masters for a host of smaller subsidiary labels.

Nearly all of these masters — in some cases, the complete discographies of entire record labels — were wiped out in the fire. The scope of this calamity is laid out in litigation and company documents, thousands of pages of depositions and internal UMG files that I obtained while researching this article. The monetary value of this loss is difficult to calculate. But in historical terms, the dimension of the catastrophe is staggering.

It cannot be said exactly how many recordings were original masters or what type of master each recording was. Also very likely lost were master tapes of the first commercially released material by Aretha Franklin, recorded when she was a young teenager performing in the church services of her father, the Rev. Franklin, who made dozens of albums for Chess and its sublabels. Then there are masters for largely forgotten artists that were stored in the vault: tens of thousands of gospel, blues, jazz, country, soul, disco, pop, easy listening, classical, comedy and spoken-word records that may now exist only as written entries in discographies.

Last year, Vivendi announced a plan to sell up to 50 percent of UMG. The sale is the talk of the music business; rumored potential buyers include Apple, Amazon and the Chinese conglomerate Alibaba.

The vault fire was not, as UMG suggested, a minor mishap, a matter of a few tapes stuck in a musty warehouse. It was the biggest disaster in the history of the music business. The recordings that burned up in the Universal fire — like the songs that are blasting from car windows on the street outside your home, like all the records that you or I or anyone else has ever heard — represent a wonderment that we have come to take for granted.

For most of human history, every word spoken, every song sung, was by definition ephemeral: Air vibrated and sound traveled in and out of earshot, never to be heard again. The act of listening again has defined music culture for a century. It is also the basis of the multibillion-dollar record industry.

Today a stupefying bounty of recordings is available on streaming audio services, floating free of the CDs, LPs and other delivery systems that once brought them to audiences. The metaphors we use to describe this mass of digitized sound bespeak our almost mystical sense that recorded music has dematerialized and slipped the bonds of earth. The Cloud.

The Celestial Jukebox. Something close to the entire history of music hovers in the ether, waiting to be summoned into our earbuds by a tap on a touch-screen. This is the utopian tale we tell ourselves, at least. In fact, vast gaps remain between the historical corpus of recorded music and that which has been digitized. Gerald Seligman, executive director of the National Recording Preservation Foundation, a nonprofit organization affiliated with the Library of Congress, estimated in that less than 18 percent of commercial music archives had been transferred and made available through streaming and download services.

That figure underscores a misapprehension: the assumption that the physical relics of recorded sound are obsolete and expendable. The objects in question are master recordings: millions of reels of magnetic tape, stored in libraries like the one that occupied the backlot vault. These archives hold other masters of various vintages: the lacquer, glass and metal masters that predated tape, and disk drives and digital tapes from the past few decades.

It is sonic fidelity, first and foremost, that defines the importance of masters. Every copy thereafter is a sonic step away. This is not an academic point. A Spotify listener who clicks on a favorite old song may hear a file in a compressed audio format called Ogg Vorbis. Audiophiles complain that the digital era, with its rampant copy-paste ethos and jumble of old and new formats, is an age of debased sound: lossy audio files created from nth-generation transfers; cheap vinyl reissues, marketed to analog-fetishists but pressed up from sludgy non-analog sources.

The remedy is straightforward: You go back to the master. This is one reason that rereleases of classic albums are promoted as having been painstakingly remastered from the original tapes. Right now, sound-savvy consumers are taking the next leap forward into high-resolution audio, which can deliver streaming music of unprecedented depth and detail.

You have to return to the master and recapture it at a higher bit rate. But the case for masters extends beyond arguments about bit depth and frequency ranges audible only to dogs. It enters the realms of aesthetics and phenomenology. Simply put, the master of a recording is that recording; it is the thing itself. It holds the ineffable essence that can only truly be apprehended when you encounter a work of art up-close and unmediated, or as up-close and unmediated as the peculiar medium of recorded sound permits.

The comparison to paintings is instructive. With a painting, our task as cultural stewards is to hang the thing properly, to keep it away from direct sunlight, to guard it from thieves. A painting must be maintained and preserved, but only in rare cases will a technological intervention improve our ability to see the artwork.

If you were to stand before the Mona Lisa in an uncrowded gallery, you would be taking in the painting under more or less ideal circumstances. You will not get a better view. In the case of a recording, a better view is possible.

The reason is a technological time lag: For years, what people were able to record was of greater quality than what they were able to play back. The process of revisiting and decoding can transfigure the most familiar music.

These epiphanies would not have been possible without masters.

This machine is in our Montreal office and was used for making cassette loop-bin masters. Complete on rolling cart with all original Ampex parts and service manual.

This site is operated by a business or businesses owned by Informa PLC and all copyright resides with them. Registered in England and Wales. Number A DVR digital video recorder is a piece of hardware, usually shaped like a DVD player, that digitally records, plays back, archives and monitors footage captured by video surveillance cameras. Usually connected to cameras through coaxial cables the DVR captures footage through a video capture card, which receives an analogue signal from the camera and converts it into a digital signal. Modern recorders can be controlled and monitored remotely from a smartphone using a LAN network.

Rustic Recording Studio/ Warehouse

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Equipment highlights: New 8-channel system for the Gallery Offices. New 4-channel system for the Gallery Shop. Facility highlights: Discreet installation for aesthetically sensitive gallery. Equipment highlights: camera system fully installed with 8 Monitors, CAT5 network infrastrure installed for till system and Wireless Internet throughout building.

SEE VIDEO BY TOPIC: Retro Tech: The Wire Recorder
Product Description.

It was the biggest disaster in the history of the music business — and almost nobody knew. This is the story of the Universal fire. Chuck Berry, By Jody Rosen. The fire that swept across the backlot of Universal Studios Hollywood on Sunday, June 1, , began early that morning, in New England. At a. That night, maintenance workers had repaired the roof of a building on the set, using blowtorches to heat asphalt shingles. They finished the job at 3 a. But the roof remained hot, and some 40 minutes after the workers left, one of the hot spots flared up.

Listening Devices

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Australia's favourite pro audio store since , Factory Sound stocks a huge range of the best brands for live sound, studio, broadcast, DJ and audiovisual applications. With a huge knowledge base and cheerful staff with a can-do attitude for all situations, it's no wonder our customers say "Go to Factory Sound, you'll get looked after". Australia-wide, we'll make sure you get the right gear for your application. With a huge knowledge base and cheerful staff with a can-do attitude for all situations, it's no wonder our customers say "Go to Factory Sound. Andrew Crawford from Technical Audio Group walks us through some nifty little setups you can use With Peter Sadler from Midas walking Ton Is this you, or someone you know? Our Projects team is about to hit a particularly busy period, a Laptop leads, iPod cables - whatever you want to call them Cordial GmbH is our choice for har

Pro Audio, Video and Lighting Equipment. in our state-of-the-art 80, sq. ft. warehouse, including live sound and studio gear, video projectors and cameras.

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Now it is filled with vintage recording equipment and old decorations. There are multiple facilities at this property, some more modern, and some more vintage.

Please check one from given option. Song or speech.

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