Maybe all that, but at the same time (given a little)
they dance in sync
I've seen "solar" gadgets from China with batteries hidden inside and a plastic chip in place of the solar cell (which costs more than the coin battery). They run for a few weeks/months sun or not.
http://www.nj7p.org/Manuals/PDFs/Books/MIT-Radiation-Lab-Series-V18-Radar-Engineering.pdf
Chapter 12 has this plus references to earlier work. Or, maybe the details are in Chapter 13.
Going through it all makes my head hurt. Since you're retired, you probably have the time to wade through this.
Maybe all that, but at the same time (given a little)
they dance in sync
nah, not buying it, they have to be talking to each other like a aerobics class...
and they are also talking world domination..sigh, sometimes my humor just doesn't hit the mark....
I'm quite surprised they sync given the size of the car dash vs those little things..
jn
I don't see they would be interested in a DC servo at that time. Tape
machine electronics had -tons- of coupling caps. I'm doubtful eliminating one
of them would have been a priority and DC operating points in high gain
front ends are not hard to control.
When it comes to sonics, early Studer and Ampex machines are two
flavours and it's more personal preference as to what is subjectively better.
Studers real strength were their transport and tape handling = superb
Swiss engineering. I still laugh when I see people upgrading their old Ampex
static tape guides with roller bearings - why would you design it that way in
the first place?
T
I have known people who can play all the right notes in the right order at the right time, as specified in the score, yet somehow no music emerges from the instrument.
Going back to oscillators, I seem to recall reading an article about the difficulty in getting two crystal oscillators on near enough the same frequency (possibly nominally the same frequency) to act independently when they have to share a box or PSU. I can't remember the context. Eventually they will synchronise.
Going back to oscillators, I seem to recall reading an article about the difficulty in getting two crystal oscillators on near enough the same frequency (possibly nominally the same frequency) to act independently when they have to share a box or PSU. I can't remember the context. Eventually they will synchronise.
A score does not contain exact timing information. One of the limitations of music notation. As a result of the limitations, we don't know exactly how classical music was intended by the composer to be played.
Thanks, I could watch this stuff all day. I don't think your fellow mod (keninkr) was that impressed with some of my favorite George Crumb LP's.
Did you note the free air circuit connected between the power buses like a train track?
Probably injection locking via supply or incidental radiation. A neat experiment would be to put one of Victors oscillators (tweeked to be as close to 1k as possible) on the same rail as a crystal controlled 1k oscillator.
I was referring to the simpler method of just taking the feedback off
a secondary VC without the subtlety of your approach.
This is all nonsense, guys. First of all, it was 50 years ago! You know, 1968. The head of the Audio Division allowed me to do some advanced research for future audio tape recorder development, besides my main task of making a practical phase-locked capstan motor servo that cost about as much as the AC motor it replaced.
My work on low noise was part of this effort, and I paralleled both bipolar transistors and jfets on reproduce input stages to prove the concept. I left the audio department in early 1969, and moved to the Research Division, because I had made contacts there that were forward thinking like I was. I was hated in the audio department, because I was pushy, and forward thinking. It only made them mad.
When it came to the complementary differential input stage power amp, I originally designed it for myself, of course, but when an opening appeared in the audio department to improve a small monitor amp that was to be used with a portable tape recorder, I gave it to the guy in charge. He tried it, but our mutual supervisor said that it was too complex, and to discard it. They used 4-6 active transistors in those days to make a small amp.
Later, in 1969, in the Research Dept, I was assigned to make a balanced bridge 50V-50A current output motor drive power amp, and I built it also with a complementary differential input stage. They also found that it was too complex and hard to understand its operation when I left Ampex to go back into hi fi at a custom audio shop, so they dropped it too. Today, I am taking that same balanced bridge basic power amp concept to make a 1000W into 4 ohm, battleship. It will take awhile.
My work on low noise was part of this effort, and I paralleled both bipolar transistors and jfets on reproduce input stages to prove the concept. I left the audio department in early 1969, and moved to the Research Division, because I had made contacts there that were forward thinking like I was. I was hated in the audio department, because I was pushy, and forward thinking. It only made them mad.
When it came to the complementary differential input stage power amp, I originally designed it for myself, of course, but when an opening appeared in the audio department to improve a small monitor amp that was to be used with a portable tape recorder, I gave it to the guy in charge. He tried it, but our mutual supervisor said that it was too complex, and to discard it. They used 4-6 active transistors in those days to make a small amp.
Later, in 1969, in the Research Dept, I was assigned to make a balanced bridge 50V-50A current output motor drive power amp, and I built it also with a complementary differential input stage. They also found that it was too complex and hard to understand its operation when I left Ampex to go back into hi fi at a custom audio shop, so they dropped it too. Today, I am taking that same balanced bridge basic power amp concept to make a 1000W into 4 ohm, battleship. It will take awhile.
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Easier and cheaper to wind a 38 AWG coil on top of the existing coil. That would be .004" thick. You can go smaller but the wire gets more expensive and fragile. Since there is no current the gauge is not an issue.
Making a cylinder flex circuit would be quite expensive if you can even figure out how.
You could make an aluminium former in a spiral with maybe 4 turns. The output would be low but it may work. Connecting leadout wires would be a bitch.
And the transport was more important to the sound than the electronics. I remember that if you could afford it you bought the Studer A80 24 track, if you couldnt you bought the MCI. The Studers electronics where also better. More head room ( +28dbm output) lower output impedance ( 30 ohms) easier to align.
Hopefully it was passed generation to generation by musicians and conductors as in pre written literature, the Odessy for example. Sure it wont be exact but maybe close enough.
Again, this is mostly nonsense. It was best to throw away the Record-Reproduce electronics of either the Studer or the Ampex and start from scratch. That is what I did 3 times. The Studer transport was significantly better than the earlier Ampex transports, and I just stuck with Studer to make upgrades.
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It takes many hours, days and weeks to learn to play a simple musical piece. If you record the process you understand.
And then by the years, when you revisit, other changes take place.
I have asked myself a lot of times how is it possible music compositions lasting 2 - 3 hours to be performed by different conductors/orchestras, with their tempo to be acoustically perceived as different and in the end they all end at the same time but 2-3 minutes apart.
Performance interpretation is what makes listening to music fascinating .
And timing is only one of the attributes that in a few cases is not provided with exact information on the score, although timing is the one attribute that is provided with the most exact information in most cases.
Maybe it was the medium. You should have brought in a CD
YouTube
George
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