Podcast appearances and mentions of emile berliner

Možná, že někteří z vás slyšíte o Emilu Berlinerovi poprvé. Vynikal v několika oborech. Mikrofon, tranzistor, ale třeba i pasterizace mléka jsou objevy, které se dodnes používají. Víte, že se společností Alexandra Bella vedl 600 soudních sporů?

For centuries, there's been a dance between music and technology with each affecting the other in some way...almost always, though, there's no fighting progress...music (and everything to do with it) ultimately bends to the needs and demands of new technology... For example, when the Catholic Church built big, echo-y cathedrals in the Middle Ages, the sacred music in those buildings adapted to this new architecture so that it made use of the natural reverb... Fast-forward a bunch of centuries...Thomas Edison's talking machine, first demonstrated in 1877, and Emile Berliner's gramophone, which debuted 10 years later, were the first machines able to capture sound, up to three minutes at a time...but because of that recording limit, the standard length of a popular song became about three minutes...the music bent to the limitations of the medium... I can give you other examples: radio changed the way music was consumed, marketed and sold...jukeboxes help spread the word on R&B, country, and rock'n'roll...they were so popular that a coin shortage in 1937 was blamed on the popularity of jukeboxes... Electricity gave us amplifiers and the electric guitar...the microphone turned singers from people who could belt out tunes at high volumes into crooners who used the mic to create softer, more intimate performances... Synthesizers were reviled by many musicians at first because one could make the sounds of an entire orchestra, threatening the livelihoods of professionals...but they were eventually accepted...sampling was thought to be evil and illegal at first, but we worked that out...file-sharing of mp3s meant that no one would ever pay for music again, but now hundreds of millions of people are paying for streaming...there's more, but you get what I'm talking about... This music-and-tech balance continues today...and on episode five of our look at rock in the 2010s, we're going to look how that particular dance played out and the effect these interactions had on our music... Learn more about your ad choices. Visit megaphone.fm/adchoices

Quina relació hi ha entre l'inventor Emile Berliner i 'Brain Damage/Eclipse', de Pink Floyd? Descobreix-ho al 'Chelsea Hotel', el pòdcast de RAC+1 on expliquem les històries que s'amaguen darrere les cançons de la banda sonora de la nostra vida.

Emile Berliner vindt in 1877 de microfoon uit. In het apparaat zit een klein spoeltje waarmee een stroompje wordt opgewekt zodra je er tegen praat. Dat de microfoon een belangrijke schakel is in de audiowereld spreekt voor zich. Dat is dan ook ons onderwerp in deze aflevering. Ko en 'vriend van de show' Evert praten hierover met een expert op het gebied van microfoontechniek Frank Duncker. Deze 22e aflevering van de Technische Praatjes podcast is getiteld: Frank Over De Klank!

 In todays episode,  Michele Talks about how she designed, patented, and manufactured a childproof vent cover that is now currently available online. A few years ago, when Michele's daughter was just two years old, like most toddlers, she discovered the vent covers. After searching for an answer to her problem and finding nothing, Michele decided that she would invent one.Michele moved to Grande Prairie, AB from BC 21 years ago and never left.  She met her husband 10 years ago and they have two beautiful kids.  Michele worked in office administration most of her career, and then in 2019 when her daughter was 2 and she was playing with our vent covers, she came up with a crazy idea - what if she invented a childproof vent cover?  Since then she's designed, patented, and manufactured a childproof vent cover that sells online. She has recently auditioned for Dragons Den Canada, and would love to get her product into retail stores so it is accessible to more people.  Michele believes that if you dream it, you can achieve it.Visit Michele's Website Follow Michele on FacebookFollow Guardavent on InstagramFollow Michele in TiktokFind Total Mom Pitch hereStart Up Canada

In this episode, Viktoria and Sloan discuss two mysterious and strange museums that tackle a historical subject with an interdisciplinary perspective. Do be warned, here be weirdness. Keep listening for musings on tunes, toilets and much more. Related Links: Musée des Ondes Emile Berliner - Musée des ondes Emile Berliner (moeb.ca) Muzeum histoických nočníků a toalet (muzeumnocniku.cz) Our Interview with Dr. Seika Boye: https://anchor.fm/interdis-history-group/episodes/Episode-7-On-Research--Curation--and-Collaboration-A-Conversation-with-Dr--Seika-Boye-er0jlo/a-a4o50kk Tire sur la neige video (Sorry all the available videos were in French. This does have English subtitles if you do not mind.) https://youtu.be/OWBflQkF9bw You can find us on all our social media here. Facebook: https://www.facebook.com/IHGatMacewan/ Twitter: https://twitter.com/HistatMac Instagram: https://www.instagram.com/historyatmac/ Youtube: https://www.youtube.com/channel/UCcsB7Q-NyysE7TiR7vN442A?app=desktop Website: https://interdisciplinaryh.wixsite.com/mysite Support us on Patreon! https://www.patreon.com/interdis_hist If you have an idea for an episode, wish to partner with us, or have an idea for a topic you want to see us cover, please shoot us an email at interdisciplinaryhistgroupmu@gmail.com. We would also appreciate it if you took the time to share our podcast with your friends and family if you have the chance, or please leave a rating and review on Apple Podcasts! It is so important and helps us a lot. We really appreciate it. Thank you for listening! Stay safe and wear a mask! Love Vik and Sloan --- Send in a voice message: https://anchor.fm/interdis-history-group/message

3 tháng 8 là ngày gì? Hôm nay là ngày sinh của ca sĩ Hoàng Bách. SỰ KIỆN 1492 – Cristoforo Colombo khởi hành từ Palos de la Frontera, Tây Ban Nha trong hành trình viễn dương đầu tiên của ông. 1977 - Tập đoàn Tandy công bố TRS-80 , một trong những máy tính cá nhân được sản xuất hàng loạt đầu tiên trên thế giới . 1997 - Công trình kiến ​​trúc độc lập cao nhất Nam bán cầu, Sky Tower ở trung tâm thành phố Auckland, New Zealand , mở cửa sau hai năm rưỡi xây dựng. Sinh 1980 - Hoàng Bách nam ca sĩ người Việt Nam 1984 - Ryan Lochte , vận động viên bơi lội người Mỹ 1992 - Karlie Kloss , người mẫu thời trang người Mỹ Mất 1929 – Emile Berliner, là một nhà phát minh người Đức gốc Do Thái. Ông được biết đến với vai trò là người phát triển máy quay đĩa. 2018 – NSƯT Bùi Cường, diễn viên người Việt Nam (s. 1945) Chương trình "Hôm nay ngày gì" hiện đã có mặt trên Youtube, Facebook và Spotify: - Facebook: https://www.facebook.com/aweekmedia - Youtube: https://www.youtube.com/c/AWeekTV - Spotify: https://open.spotify.com/show/6rC4CgZNV6tJpX2RIcbK0J #aweektv # 3thang8 Các video đều thuộc quyền sở hữu của Adwell jsc, mọi hành động sử dụng lại nội dung của chúng tôi đều không được phép. --- Send in a voice message: https://anchor.fm/aweek-tv/message

Danh ngôn cuộc sống: “Đừng ngại thay đổi. Bạn có thể mất một cái gì đó tốt nhưng bạn có thể đạt được một cái gì đó còn tốt hơn.” --- Sự kiện ngày 03 tháng 08: 1, Cristoforo Colombo khởi hành từ Palos de la Frontera, Tây Ban Nha trong hành trình viễn dương đầu tiên của ông 2, Emile Berliner - nhà phát minh người Đức Giọng đọc: Phạm Kỳ, Khánh Hà, Quốc Đạt ★ Mọi thông tin xin liên hệ: ngaynaynamay1501@gmail.com

A young immigrant to the USA who started out working in a draper's shop, Emile Berliner ended up paving the way for the world of recordings and home entertainment that we delight in today. But even before he got to work on his recording machine - which he would later call the gramophone - Berliner made a major contribution to another piece of technology that's very familiar to us today: the telephone. And not content with all these achievements, he also promoted the pasteurisation of milk, financed a major scholarship for women to pursue academic research and tried to develop a working helicopter. So how did Berliner come up with these ideas? Why was he at one point prevented from selling his gramophones and records? And why is his name less well known today than those of his contemporaries Nikola Tesla, Thomas Edison and Alexander Graham Bell? Bridget Kendall is joined by three Berliner experts: Dr. Anja Borck, director of the Musee des ondes Emile Berliner in Montreal; Sam Brylawski, former head of recorded sound at the Library of Congress in Washington which houses an extensive Berliner archive; and David Giovannoni, a historian of recorded sound and the co-author of E. Berliner's Gramophone - a study of the American disc industry from 1892 to 1900. [Image: Berliner gramophone, 1890. Credit: Science & Society Picture Library/SSPL/Getty Images]

With these episodes focusing on the life and work of the mighty Fred Gaisberg, we may have given the impression that he was his own boss. That would be wrong. Working for The Gramophone Company in London, Fred was answerable to a man called William Barry Owen. In this episode we tell Owen's story. It was his business acumen and vision that saw The Gramophone Company go from a pipe dream to a reality. We look at the Company through the prism of this fascinating man's stewardship.Despite his Welsh-sounding name, William Barry was actually from Massachusetts. A lawyer, an opportunist and a gambler, he sailed for London in 1897 to raise investment funds for the European arm of The Gramophone Company on behalf of Emile Berliner. He was, in effect, rolling the pitch for the music industry's arrival on this side of the world. When he arrived in London, William Barry hired one of the most opulent rooms at the Hotel Cecil on the Strand for business meetings, giving the impression that he meant business. It worked. Within a matter of weeks he had assembled a small syndicate of likely investors, chief among them being a London solicitor called Trevor Williams. The group acquired the European rights to Berliner's gramophone but, in a move that would prove decisive for the future of recorded music, the investors forced William Barry to commit to a strategy of recording European musicians rather than simply import records from America, which was what he was proposing. It was this change in tack that led to the arrival in London from the States of a certain Mr Fred Gaisberg. As Fred was weaving his sonic magic in Maiden Lane, William Barry (Managing Director) and Trevor Williams (Chairman) took care of business. William Barry didn't always get things right. When the gramophone initially failed to take off, he diversified the company into typewriters, a move that didn't work. And by the time that the company had moved into larger premises on City Road in 1902, it had already grown too big for the building. But in William Barry, we have one of the original and most often overlooked recording pioneers. So who was this man? What made him tick? And what did he do after he left the company in 1906? Dave and James find out, and play some cracking tunes along the way. Hosted on Acast. See acast.com/privacy for more information.

Join the Three Dudes Wearing Plaid as they learn where Mitchell has heard of Emile Berliner before, what materials you definitely shouldn't make music out of, and which Dude's statements are gonna get us sued in seventy years by space alien rights activists. Our theme music is by Evan Schafer, and the show is edited by Gus Guszkowski. If you have questions or comments about anything we talked about on the show, feel free to email us at 3dudeswearingplaid@gmail.com, and follow us on Instagram @3dwpcast! All the links for this episode can be found below: https://docs.google.com/document/d/14WxhB4yB-7jxShDaf4Pk5Sv0CTjXOqaOtI5-LiW6Hxw/edit?usp=sharing

Every hero has a sidekick. And in this episode we tell the story of Fred's wingman, the wonderfully named William Sinkler Darby. Five years Fred's junior, fellow American Sinkler was by his boss's side as he established The Gramophone Company in London and travelled the world to capture sound. Their tale is like a buddy movie: it's Batman & Robin meets The Hangover meets Lethal Weapon (if the weapon in question is an unwieldy mobile recording rig). Darby first worked with Fred in Emile Berliner's laboratory in Washington DC in the summer of 1897 (he got a job that Fred's brother Will had initially wanted, only to be banned by their father). Once in London, Darby proved himself to be the most reliable partner imaginable. He helped Fred in the newly established Maiden Lane studio before they headed to mainland Europe to make the Company's first continental recordings. Leipzig, Vienna, Budapest, Paris, Milan… they visited them all. There was a definite element of ‘boys on tour' to these trips, as Dave and James find out in this episode. There were many escapades, including a curious story involving a sausage in a sweltering train carriage in Spain. They then toured the UK and Ireland, recording in Scotland, Dublin and elsewhere. Darby was also with Fred on their ground-breaking recording expedition to Russia in 1900. But this was more than a Victorian bromance. The duo recorded hundreds of historic recordings. Darby was an accomplished engineer himself, and helmed plenty of recording sessions himself, both at Maiden Lane and at the City Road studio that followed. We play a selection of those tracks here. Perhaps keen to emerge from Fred's shadow, Darby went it alone with an interesting venture that we explore in this episode. The history of recorded music is packed with characters. But it's unlikely that a duo exist who did so much to kick-start the music industry as these two, and – frankly – had so much fun doing it. Hosted on Acast. See acast.com/privacy for more information.

Per avslöjar att han som ung var socialist, radikal och husockupant. Han beskriver hur han kom fram till att människans naturtillstånd är fattigdom. Frågan är alltså hur man skapar rikedom, frihet och lycka. Man konstaterar att både höger och vänster i politiken strävar mot liknande mål; att utplåna lidande och skapa lycka, men man har olika redskap i verktygslådan. Vi diskuterar den industriella revolutionen orsaker, varför u-landshjälp fortsätter på samma sätt som förut, trots att den visat sig så misslyckad, och vad det är som skapar kärlek. Är u-landshjälp en form av storhetsvansinne eller sekulär mission? Med anledning av schlagerfestivalen spelar vi en skiva med kompositören Fred Winter, som sjunger "Konsten att göra en schlager" från 1929. När vi ser vad som skapar välstånd märker vi att det är sällsynta och ömtåliga fenomen, som vi borde vårda och skydda. Per berättar om en resa till Cuba, vilket fick honom att konstatera att socialism är värre än kolonialism. Till sist får vi höra världens förmodligen äldsta skratt som finns bevarat, grammofonens uppfinnare Emile Berliner skrattar på en skiva från 1889. See acast.com/privacy for privacy and opt-out information.

Chào mừng các bạn đã quay trở lại kênh A Week TV, hôm nay 20 tháng 5 có những sự kiện gì? Mời bạn theo dõi thông tin chi tiết: SỰ KIỆN 1498 - Nhà thám hiểm người Bồ Đào Nha Vasco da Gama phát hiện ra con đường biển đến Ấn Độ khi ông đến Kozhikode (trước đây được gọi là Calicut), Ấn Độ 1873 - Levi Strauss và Jacob Davis nhận được bằng sáng chế của Hoa Kỳ cho quần jean xanh với đinh tán đồng . 1891 - Lần đầu tiên trưng bày công khai chiếc kính kinetoscope nguyên mẫu của Thomas Edison . 1932 - Amelia Earhart cất cánh từ Newfoundland để bắt đầu chuyến bay thẳng đầu tiên trên thế giới xuyên Đại Tây Dương của một nữ phi công, hạ cánh xuống Ireland vào ngày hôm sau. Ngày lễ và kỷ niệm Ngày đo lường thế giới Sinh 1717 – Lê Hiển Tông, vị hoàng đế áp chót của nhà Lê Trung hưng 1799 – Honoré de Balzac nhà vǎn hiện thực lớn của nước Pháp (m. 1850) 1851 – Emile Berliner, nhà phát minh người Đức, phát minh ra máy quay đĩa 1919–Phaolô Giuse Phạm Đình Tụng, giám mục Công giáo người Việt 1908 – James Stewart, huyền thoại điện ảnh Hoa Kỳ 1929 – Hoài An nhạc sĩ người Việt Nam 1946 – Cher, diễn viên và ca sĩ người Hoa Kỳ 1948 – Lệ Thủy, nghệ sĩ cải lương Việt Nam 1981 – Iker Casillas, thủ môn bóng đá người Tây Ban Nha 1982 – Petr Čech, thủ môn bóng đá người Cộng hòa Séc 1990 – Nhã Phương, nữ diễn viên người Việt Nam Mất 1506 – Christopher Columbus, nhà thám hiểm người Tây Ban Nha gốc Ý. #aweektv #homnaylangaygi #todayinhistory --- Send in a voice message: https://anchor.fm/aweek-tv/message

Synopsis Joan Tower is one of America’s most famous–and quotable–composers. She once asked audiences to imagine Beethoven as a composer-in-residence with a modern American orchestra: “If Beethoven walked in here right now,” said Tower, “I think we’d ALL be a bit shocked. He’d probably look very scruffy and be an obnoxious pain-in-the-butt. Orchestras would NEVER ask him back.” Tower can be equally blunt about her own music. Among her most frequently performed works is the series pieces entitled “Fanfares for the Uncommon Woman.” Of these, Tower remarked, perhaps with tongue firmly in cheek: “Maybe the title is better than the music.” On today’s date in 1991, Leonard Slatkin and the St. Louis Symphony gave the premiere performance of Joan Tower’s “Concerto for Orchestra.” “It’s my WORST title,” Tower declared. “I really didn’t want people to think of Bartok’s Concerto for Orchestra, but it IS a concerto in the sense that it features different parts of the orchestra.” This work was a joint commission from the St. Louis Symphony, the New York Philharmonic, and the Chicago Symphony. Reviewing the Chicago performance, music critic John von Rhein wrote: “Tower's talent for flinging bold, dramatic sounds over a large orchestral palette is much on display.” Music Played in Today's Program Joan Tower (b. 1938) Concerto for Orchestra Colorado Symphony; Marin Alsop, cond. Koch 7469 On This Day Births 1931 - American composer Donald James Martino, in Plainfield, N.J.; Deaths 1910 - Russian composer Mily Balakirev (Gregorian date: May 29); Premieres 1726 - Handel: opera "Alessandro" (Julian date: May 5); 1889 - Massenet: opera "Esclarmonde" at the Paris Opéra; 1948 - Quincy Porter: Viola Concerto, in New York City; 1948 - Wallingford Rieger: Symphony No. 3, in New York City; 1966 - Ralph Shapey: "Rituals," in Chicago; 1966 - Villa-Lobos: Sinfonia No. 9, by the Philadelphia Orchestra, Eugene Ormandy conducting; 1969 - Cage: "HPSCHD," for amplified harpsichord and 51 tapes, in Urbana, Ill.; 1971 - Britten: opera "Owen Wingrave," as a telecast on BBC-TV in England and NET (National Educational Television) in the United States; 1972 - Jaocb Druckman: "Windows" for orchestra, by the Chicago Symphony; This work was awarded the Pulitzer Prize for Music in 1972; 1974 - Bernstein: ballet "Dybbuk," by the New York City Ballet at Lincoln Center, with choreography by Jerome Robbins and the composer conducting; 1991 - Joan Tower: "Concerto for Orchestra," by the St. Louis Symphony, Leonard Slatkin conducting; Others 1792 - The Teatro la Fenice ("The Phoenix") opens in Venice; 1888 - Emile Berliner gives the first public display of his invention, the flat gramophone disk, at the Franklin Institute in Philadelphia. Links and Resources On Joan Tower A 1987 interview with Tower

Synopsis Joan Tower is one of America’s most famous–and quotable–composers. She once asked audiences to imagine Beethoven as a composer-in-residence with a modern American orchestra: “If Beethoven walked in here right now,” said Tower, “I think we’d ALL be a bit shocked. He’d probably look very scruffy and be an obnoxious pain-in-the-butt. Orchestras would NEVER ask him back.” Tower can be equally blunt about her own music. Among her most frequently performed works is the series pieces entitled “Fanfares for the Uncommon Woman.” Of these, Tower remarked, perhaps with tongue firmly in cheek: “Maybe the title is better than the music.” On today’s date in 1991, Leonard Slatkin and the St. Louis Symphony gave the premiere performance of Joan Tower’s “Concerto for Orchestra.” “It’s my WORST title,” Tower declared. “I really didn’t want people to think of Bartok’s Concerto for Orchestra, but it IS a concerto in the sense that it features different parts of the orchestra.” This work was a joint commission from the St. Louis Symphony, the New York Philharmonic, and the Chicago Symphony. Reviewing the Chicago performance, music critic John von Rhein wrote: “Tower's talent for flinging bold, dramatic sounds over a large orchestral palette is much on display.” Music Played in Today's Program Joan Tower (b. 1938) Concerto for Orchestra Colorado Symphony; Marin Alsop, cond. Koch 7469 On This Day Births 1931 - American composer Donald James Martino, in Plainfield, N.J.; Deaths 1910 - Russian composer Mily Balakirev (Gregorian date: May 29); Premieres 1726 - Handel: opera "Alessandro" (Julian date: May 5); 1889 - Massenet: opera "Esclarmonde" at the Paris Opéra; 1948 - Quincy Porter: Viola Concerto, in New York City; 1948 - Wallingford Rieger: Symphony No. 3, in New York City; 1966 - Ralph Shapey: "Rituals," in Chicago; 1966 - Villa-Lobos: Sinfonia No. 9, by the Philadelphia Orchestra, Eugene Ormandy conducting; 1969 - Cage: "HPSCHD," for amplified harpsichord and 51 tapes, in Urbana, Ill.; 1971 - Britten: opera "Owen Wingrave," as a telecast on BBC-TV in England and NET (National Educational Television) in the United States; 1972 - Jaocb Druckman: "Windows" for orchestra, by the Chicago Symphony; This work was awarded the Pulitzer Prize for Music in 1972; 1974 - Bernstein: ballet "Dybbuk," by the New York City Ballet at Lincoln Center, with choreography by Jerome Robbins and the composer conducting; 1991 - Joan Tower: "Concerto for Orchestra," by the St. Louis Symphony, Leonard Slatkin conducting; Others 1792 - The Teatro la Fenice ("The Phoenix") opens in Venice; 1888 - Emile Berliner gives the first public display of his invention, the flat gramophone disk, at the Franklin Institute in Philadelphia. Links and Resources On Joan Tower A 1987 interview with Tower

SEPTEMBER 26 - 1855 John D. Rockefeller gets to work; 1927 Happy Birthday Robert Cade, Gatorade; 1887 Emile Berliner patents gramophone; 1960 1st Presidential debate on national TV; 2015 Largest Butter Sculpture goes on display in New York

Streaming services have revolutionized the way we listen to music. But before we had these platforms, how did we tune in?  Let's rewind back before the radio, cassettes, or CDs, and take a look at the record player. In this episode of 365 days with mxmtoon, Maia shares the history of how German immigrant Emile Berliner found inspiration to improve upon Thomas Edison’s invention of the phonograph.  Berliner’s improvement became known as the gramophone, which we commonly call the record player. This was world changing for the music industry, creating accessibility for people all around the world to hear music that was available to them live. Speaking of the music industry, on this day the first hip hop group hit the Billboard Top 10 with their third album, which led them to be inducted into the Library of Congress.  Join this episode today and make sure you’re following along with the daily updates @365daysmxmtoon on all platforms. Distributed by Talkhouse.

Summer 1898. Fred Gaisberg arrives in London to set up The Gramophone Company at the behest of his American boss Emile Berliner, who invented the flat-disc gramophone. Before Berliner, music only lasted for as long as the notes hung in the air. Now, Fred is under orders to commit as many artists as possible to disc. The recording technology is rudimentary to say the least, but 25-year-old Fred has big dreams. Having sailed from New York to Liverpool with £10 in his pocket, a bicycle and an instruction manual, Fred travels to a sweltering and vice-ridden Covent Garden to open Europe's first recording studio at 31 Maiden Lane. The delights and temptations of the buzzing city – and the challenges of starting an industry from scratch – soon become all too clear. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the History of Computing Podcast, where we explore the history of information technology. Because understanding the past prepares us to innovate of the future! Todays episode is is on the microphone. Now you might say “wait, that's not a computer-thing. But given that every computer made in the past decade has one, including your phone, I would beg to differ. Also, every time I record one of these episodes, I seem to get a little better with wielding the instruments, which has led me to spend way more time than is probably appropriate learning about them. So what exactly is a microphone? Well, it's a simple device that converts mechanical waves of energy into electrical waves of energy. Microphones have a diaphragm, much as we humans do and that diaphragm mirrors the sound waves it picks up. So where did these microphones come from? Well, Robert Hooke got the credit for hooking a string to a cup in 1665 and suddenly humans could push sound over distances. Then in 1827 Charles Wheatstone, who invented the telegraph put the word microphone into our vernacular. 1861 rolls around and Johan Philipp Reis build the Reis telephone, which electrified the microphone using a metallic strip that was attached to a vibrating membrane. When a little current was passed through it, it reproduced sound far away. Think of this as more of using electricity to amplify the effects of the string on the cup. But critically, sound had been turned into signal. In 1876, Emile Berliner built a modern microphone while working on the gramophone. He was working with Thomas Edison at the time and would go on to sell the patent for the Microphone to The Bell Telephone Company. Now, Alexander Graham Bell had designed a telephone transmitter in 1876 but ended up in a patent dispute with David Edward Hughes. And as he did with many a great idea, Thomas Edison made the first practical microphone in 1886. This was a carbon microphone that would go on to be used for almost a hundred years. It could produce sound but it kinda' sucked for music. It was used in the first radio broadcast in New York in 1910. The name comes from the cranes of carbon that are packed between two metal plates. Edison would end up introducing the diaphragm and the carbon button microphone would become the standard. That microphone though, often still had a built0-in amp, strengthening the voltage that was the signal sound had been converted to. 1915 rolls around and we get the vacuum tube amplifier. And in 1916, E.C. Wente of Bell Laboratories designed the condenser microphone. This still used two plates, but each had an electrical charge and when the sound vibrations moved the plates, the signal was electronically amplified. Georg Neumann then had the idea to use gold plated PVC and design the mic such that as sound reached the back of the microphone it would be cancelled, resulting in a cardioid pattern, making it the first cardioid microphone and an ancestor to the microphone I'm using right now. In the meantime, other advancements were coming. Electromagnets made it possible to add moving coils and ribbons and Wente and A.C. Thuras would then invent the dynamic, or moving-coil microphone in 1931. This was much more of an omnidirectional pattern and It wasn't until 1959 that the Unidyne III became the first mic to pull in sound from the top of the mic, which would change the shape and look of the microphone forever. Then in 1964 Bell Labs brought us the electrostatic transducer mic and the microphone exploded with over a billion of these built every year. Then Sennheiser gave us clip-on microphones in the 80s, calling their system the Mikroport and releasing it through Telefunken. No, Bootsie Collins was not a member of Telefunken. He'd been touring with James Brown for awhile ad by then was with the Parliament Funkadelic. Funk made a lot of use of all these innovations in sound though. So I see why you might be confused. Other than the fact that all of this was leading us up to a point of being able to use microphones in computers, where's the connection? Well, remember Bell Labs? In 1962 they invented the electret microphone. Here the electrically biased diaphragms have a capacitor that changes with the vibrations of sound waves. Robert Noyce had given us the integrated circuit in 1959 and of microphones couldn't escape the upcoming Moore's law, as every electronics industry started looking for applications. Honeywell came along with silicon pressure sensors, and by 65 Harvey Nathanson gave us a resonant-gated transistors. That would be put on a Monolithic chip by 66 and through the 70s micro sensors were developed to isolate every imaginable environmental parameter, including sound. At this point, computers were still big hulking things. But computers and sound had been working their way into the world for a couple of decades. The technologies would evolve into one another at some point obviously. In 1951, Geoff Hill pushed pules to a speaker using the Australian CSIRAC and Max Mathews at Bell Labs had been doing sound generation on an IBM 704 using the MUSIC program, which went a step further and actually created digital audio using PCM, or Pulse-Code Modulation. The concept of sending multiplexed signals over a wire had started with the telegraph back in the 1870s but the facsimile, or fax machine, used it as far back as 1920. But the science and the math wasn't explaining it all to allow for the computer to handle the rules required. It was Bernard Oliver and Claude Shannon that really put PCM on the map. We've mentioned Claude Shannon on the podcast before. He met Alan Turing in 43 and went on to write crazy papers like A Mathematical Theory of Cryptography, Communication Theory of Secrecy Systems, and A Mathematical Theory of Communications. And he helped birth the field of information theory. When the math nerds showed up, microphones got way cooler. By the way, he liked to juggle on a unicycle. I would too if I could. They documented that you could convert audio to digital by sampling audio and modulation would be mapping the audio on a sine wave at regular intervals. This analog-to-digital converter could then be printed on a chip that would output encoded digital data that would live on storage. Demodulate that with a digital to analog converter, apply an amplification, and you have the paradigm for computer sound. There's way more, like anti-aliasing and reconstruction filters, but someone will always think you're over-simplifying. So the evolutions came, giving us multi-track stereo casettes, the fax machines and eventually getting to the point that this recording will get exported into a 16-bit PCM wave file. PCM would end up evolving to LPCM, or Linear pulse-control modulation and be used in CDs, DVDs, and Blu-ray's. Oh and lossleslly compressed to mp3, mpeg4, etc. By the 50s, MIT hackers would start producing sound and even use the computer to emit the same sounds Captain Crunch discovered the tone for, so they could make free phone calls. They used a lot of paper tape then, but with magnetic tape and then hard drives, computers would become more and more active in audio. By 61 John Kelly Jr and Carol Lockbaum made an IBM 7094 mainframe sing Daisy Bell. Arthur C. Clarke happened to see it and that made it into 2001: A Space Odyssey. Remember hearing it sing that when it was getting taken apart? But the digital era of sound recording is marked as starting with the explosion of Sony in the 1970s. Moore's Law, they got smaller, faster, and cheaper and by the 2000s microelectromechanical microphones web mainstream, which are what are built into laptops, cell phones, and headsets. You see, by then it was all on a single chip. Or even shared a chip. These are still mostly omnidirectional. But in modern headphones, like Apple AirPods then you're using dual beam forming microphones. Beamforming uses multiple sensor arrays to extract sounds based on a whole lot of math; the confluence of machine learning and the microphone. You see, humans have known to do many of these things for centuries. We hooked a cup to a wire and sound came out the other side. We electrified it. We then started going from engineering to pure science. We then analyzed it with all the math so we better understood the rules. And that last step is when it's time to start writing software. Or sometimes it's controlling things with software that gives us the necessary understanding to make the next innovative leap. The invention of the microphone doesn't really belong to one person. Hook, Wheatstone, Reis, Alexander Graham Bell, Thomas Edison, Wente, Thuras, Shannon, Hill, Matthews, and many, many more had a hand in putting that crappy mic in your laptop, the really good mic in your cell phone, and the stupidly good mic in your headphones. Some are even starting to move over to Piezoelectric. But I think I'll save that for another episode. The microphone is a great example of that slow, methodical rise, and iterative innovation that makes technologies truly lasting. It's not always shockingly abrupt or disruptive. But those innovations are permanently world-changing. Just think, because of the microphone and computer getting together for a blind date in the 40s you can now record your hit album in Garage Band. For free. Or you call your parents any time you want. Now pretty much for free. So thank you for sticking with me through all of this. It's been a blast. You should probably call your parents now. I'm sure they'd love to hear from you. But before you do, thank you for tuning in to yet another episode of the History of Computing Podcast. We're so lucky to have you. Have a great day!

Den indspillede musiks historieDenne podcast er optaget i et studie i København. Du lytter sikkert til den på din computer, telefon eller iPad. Det er blevet normalen i dag, hvor Spotify, iTunes, YouTube og talrige andre services har gjort, at musik altid er lige ved hånden – lige meget hvor du er, og hvornår du er der.Édouard-Léon Scott De MartinvilleÉdouard-Léon Scott De Martinville er det første menneske, der optager lyd. Franskmanden sad og læste om menneskets fysiologi og fik en idé. Fotografiapparatet kunne fange billedet ved at kopiere synet. Derfor måtte en maskine også kunne fange lyden og kopiere hørelsen.Den idé bliver til fonoautografen, der kunne visualisere lyd på papir. Den var dog begrænset af ikke at kunne gengive lyden. Det skulle der en amerikaner til at ændre.Thomas EdisonI 1877 begynder den 29-årige Thomas Edison, der senere opfinder el-pæren, arbejdet på en ny teknologi. Den skal kunne optage morsekoder fra telegrafer og lyde fra de tidligste telefoner. Maskinen bliver kaldt fonografen. Den skal vise sig at danne grundlaget for hele den moderne musikindustri.For at teste maskinen reciterer han børnedigtet ‘Mary Had A Little Lamb' – på dansk kendt som ‘Mæh, si’r det lille lam'. Til hans store overraskelse kan han høre sig selv gennem fonografen.Det her er fuldstændig revolutionerende. For første gang kan mennesket både optage og afspille lyd!Fonografen fik for alvor betydning for musikken. Der skulle dog et par trin på udviklingstrappen mere til, før musikindustrien, som vi kender i dag, begyndte at blomstre.Emile Berliner og grammofonenI Washington har den tysk-fødte opfinder Emile Berliner fået øjnene op for fonografen og Alexander Graham Bells grafofon. Lydkvaliteten på fonografen er dog dårlig og holder kun til én afspilning. Grafofonen er også umulig at masseproducere, fordi hver enkelt optagelse skal foretages på hver enkel cylinder. Hvis det var i dag, ville det svare til, at The Minds of 99 skulle indspille ‘Stjerner På Himlen' 50 gange for at sælge 50 kopier af den sang.Gennem mange forskellige eksperimenter blev Berliner klogere: hvis man skiftede cylinderen ud med en disk og sørgede for, at nålene på apparatet bevægede sig fra side til side, og ikke op og ned, så kunne man masseproducere disse diske. Med den tanke og en god omgang knofedt opfandt han grammofonen og en helt ny musikindustri.Vinylpladernes indtogI New York sker det næste kvantespring i den optagede musiks historie. Her er to teknologi-virksomheder nemlig i gang med et kapløb om at komme på de bedste elektronikopfindelser. Den ene virksomhed hedder RCA – Radio Corporation of America – og den anden er CBS – Columbia Broadcasting System. De er begge i gang med at opfinde teknologiske landvindinger inden for radio og TV.Ovre hos Columbia er deres hemmelige våben den excentriske, ungarske opfinder, Peter Carl Goldmark. I 1948 er han igang med at arbejde på en ny slags disk til grammofonen. De ryster i bukserne hos RCA, for Peter Goldmark er ikke en Hr.-hvem-som-helst. Han har nemlig år forinden opfundet farvefjernsynet, som har revolutioneret måden, folk ser TV på. Nu er han altså i fuld gang med at revolutionere måden at lytte til musik på.Long-playing discHans svar bliver LP’en: en long-playing disc. I modsætning til tidligere tiders plade-versioner kan LP’en opbevare helt op til 22 minutters musik på hver side. Den er derudover lavet på vinyl, modsat tidligere tiders shellac. Vejen var hermed banet for album-formatet, som vi kender det i dag.RCA var rasende, og nægtede at bukke sig. I stedet opfandt de deres eget format: single-pladen. Vi fik således introduceret ‘albummet' og ‘singlen' og hermed startet en hel kultur omkring vinylpladen. Disse formater tager de indspillende kunstnere til sig og hitlisterne former sig herefter. Den musikalske populærkultur, som vi har i dag, er hermed skabt.

Zvukový projev je nejpřirozenějším komunikačním prostředkem člověka. Na jeho zaznamenávání jsme si ale museli počkat až do 19. století. S prvním prototypem mikrofonu přišel Alexander Graham Bell v roce 1876 a byl součástí jeho telefonu. Mnohem více se ale pravděpodobně o rozvoj rozhlasu a hudebního průmyslu zasloužil Emile Berliner. Ten se rozhodl Bellův telefon studovat a přišel na velké množství nedostatků. Vyvinul tak nový typ vysílače a 4. března 1877 si nechal patentovat uhlíkový mikrofon , který známe dodnes.

In this episode, Peter explains how he came to take on such an ambitious project, why he started with the advent of recorded music rather than the advent of sheet music, the first format wars between Thomas Edison’s phonograph and Emile Berliner’s gramophone, the first recorded music superstars, and one unfortunate early hitmaker who found himself having to do a new recording every time a copy of his hit record was made.

This episode starts by sharing a few popular stories inspired by the hopes and fears of a phonographic future, before moving on to introducing Emile Berliner (who you get to hear sing) and his gramophone. After that, I ponder what was lost in the disc record’s victory over the cylinder. Also: talking sponges, Egyptian colossi and+ Read More

Emile Berliner (1851-1929) was a German-born immigrant whose inventions contributed to the birth of the recording industry. A largely self-educated man, Berliner was responsible for the development of the microphone, the flat recording disc and the gramophone player. Often overlooked by today's historians, Berliner's creative genius rivaled that of his better-known contemporaries Thomas Alva Edison and Alexander Graham Bell. Like the works of these two inventors, Berliner's innovations helped shape the modern American way of life. Berliner's life, work and connection to Washington, D.C., where he lived for many years, is the subject of a talk by Samuel Brylawski and Karen Lund. Speaker Biography: Samuel Brylawski, former head of the Recorded Sound Section at the Library of Congress, is the coordinator and editor of the Victor Records Discography at the University of California at Santa Barbara. Speaker Biography: Karen Lund is a digital project coordinator in the Library's Music Division and developer of the Emile Berliner online presentation on the Library's American Memory website.