Thesis (M.S.)--University of Delaware, 2007. / Principal faculty advisor: Jack A. Puleo, Dept. of Civil & Environmental Engineer. Includes bibliographical references.

Thesis (Doctor of Technical Sciences)--Swiss Federal Institute of Technology, Zurich, 2003. / "Diss. ETH No. 14760" "April 2003" Includes bibliographical references and index.

What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali-like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least likely place for creative expression and for an affective performance to happen. The task of the record producer is to engage with these artists and their songs and turn these potentials into form through the technology of the recording studio. The purpose of the exercise is to disseminate this fixed form to an imagined audience—generally in the hope that this audience will prove to be real. Finding an audience is the role of the record company. A record producer must also engage with the commercial expectations of the interests that underwrite a recording. This dissertation considers three fields of interest in the recording process: the performer and the song; the technology of the recording context; and the commercial ambitions of the record company—and positions the record producer as a nexus at the interface of all three. The author reports his structured recollection of five recordings, with three different artists, that all achieved substantial commercial success. The processes are considered from the author‘s perspective as the record producer, and from inception of the project to completion of the recorded work. What were the processes of engagement? Do the actions reported conform to the template of nexus? This dissertation proposes that in all recordings the function of producer/nexus is present and necessary—it exists in the interaction of the artistry and the technology. The art of record production is to engage with these artists and the songs they bring and turn these potentials into form.

No description available.

RCC 106 Chapter 10 has established the standard for interoperable flight test recording on the DOD ranges. The growth of network and distributed technologies in flight test instrumentation (FTI) has led to the recent adoption of Chapters 21 through 28 to provide standards for implementing interoperable telemetry networks. However, the new standards have led to confusion and concern that the investment in Chapter 10 recorders will be lost. This paper first clarifies the complementary nature of the RCC 106 chapters and proposes one possible path to extending the current capability of a Chapter 10 recorder with telemetry network capability while minimizing impact to existing recording and support systems.

No description available.

some soundwalks (Denton, TX) is an audio portrait of the Denton square - the area in downtown Denton bordered by the streets Oak, Hickory, Elm, and Locust. For three months (June - August, 2012), I went on soundwalks in this area, recording the soundscape and collecting material from each hour of the twenty-four hours of the day. The resulting work is presented as a layered montage of this gathered material that takes the listener on a twenty-four hour journey through the Denton square in about eighteen minutes. Ultimately, this sonic portrait of the Denton square is my subjective reaction to the daily soundscape of an area of Denton that embodies a strong sense of tradition combined with a newer presence of a growing population.

No description available.

No description available.

International Telemetering Conference Proceedings / October 30-November 02, 1995 / Riviera Hotel, Las Vegas, Nevada / Magnetic tape is the primary medium used to capture and store unprocessed data from remote sensing satellites. Recent advances in digital cassette recording technology have resulted in the introduction of a range of data recorders which are equally at home working alongside conventional recorders or as part of more advanced data capture strategies. This paper shows how users are taking advantage of the convenience, economy and efficiency of this new generation of cassette-based equipment in a range of practical applications.