Instruct: Given a question, retrieve relevant passages that can help answer the question.
Query: Who invented the first audio recording device?
The first practical sound recording and reproduction device was the mechanical phonograph cylinder, invented by Thomas Edison in 1877 and patented in 1878.[9][10] The invention soon spread across the globe and over the next two decades the commercial recording, distribution, and sale of sound recordings became a growing new international industry, with the most popular titles selling millions of units by the early 1900s. The development of mass-production techniques enabled cylinder recordings to become a major new consumer item in industrial countries and the cylinder was the main consumer format from the late 1880s until around 1910.
In 1857, Édouard-Léon Scott de Martinville invented the phonautograph, the first device that could record sound waves as they passed through the air. It was intended only for visual study of the recording and could not play back the sound. The recording medium was a sheet of soot-coated paper wrapped around a rotating cylinder carried on a threaded rod. A stylus, attached to a diaphragm through a series of levers, traced a line through the soot, creating a graphic record of the motions of the diaphragm as it was minutely propelled back and forth by the audio-frequency variations in air pressure.
After the success of the LP record, Goldmark spent the next two decades at CBS Laboratories working on various inventions, chief of which was EVR, the Electronic Video Recorder. This futuristic home video playback device used reels of film stored in plastic cassettes to electronically store audio and video signals, and was first announced in 1967. A B&W prototype was demonstrated in 1969 (promising color playback in future models), but the invention floundered when it proved to be difficult and costly to manufacture. CBS was also concerned about the potential of competition from home video devices, particularly those that could record — a fear that eventually proved prescient. As with color television, Goldmark's EVR film-based system was superseded by another technology, in this case Sony's U-Matic 3/4" videocassette format in late 1971, since the cassette tape format was cheaper and more effective. However, Goldmark's vinyl long-playing records remained the standard in the music industry until the CD replaced the LP in the late 1980s.
By using the terms "digital audio recording device" and "digital audio recording medium", which have specific meanings in this legislation, Congress required that in order to be exempt from copyright infringement actions, digital copies must be made to a device or medium marketed specifically for recording audio. Though there are no reliable figures on the subject, the meager returns to the Copyright Office's DART fund amidst widespread copying and dissemination of digital music suggests that a great deal of copying, noncommercial or otherwise, is accomplished using devices not covered by the AHRA, such as portable MP3 players, computer hard drives, and most CD burners and CD-Rs.
In each case, the principal distinction between what is and is not covered by the AHRA is determined by whether or not the device is marketed or designed (or in the case of media, commonly used by consumers) to make audio recordings, not the device's capabilities. A CD-R recorder included as part of a personal computer would not be a digital audio recording device under the Act, since the personal computer was not marketed primarily for making copies of music. The same recorder, sold as a peripheral and marketed for the express purpose of making digital audio recordings, would fall under the Act's definition of a recording device.
The RIAA brought suit against Diamond Multimedia Systems, Inc, (Diamond), "alleging that the Rio [a device manufactured by Diamond] does not meet the requirements for digital audio recording devices under the Audio Home Recording Act of 1992, 17 U.S.C. § 1001 et seq. (the "Act"), because it does not employ a Serial Copyright Management System ("SCMS") that sends, receives, and acts upon information about the generation and copyright status of the files that it plays." The Rio was defined as a portable digital audio device which "allows a user to download MP3 audio files from a computer and to listen to them elsewhere." The lower court denied the RIAA's request for injunctive relief, holding that the RIAA had failed to demonstrate a likelihood of success on the merits, and the RIAA appealed. On appeal, the ninth circuit upheld the lower court's decision to deny injunctive relief but found that the lower court had erred in holding that the Rio was a covered device under the AHRA. The court noted that in order to be a digital audio recording device, the Rio must be able to reproduce, either "directly" or "from a transmission," a "digital music recording."
In pro-audio terminology, a headphone amplifier is a device that allows multiple headsets to be connected to one or more audio sources (typically balanced audio sources) at the same time to monitor sounds during a recording session, either singing or playing from the "live room" or recorded tracks. Headphone amps enable singers and musicians to be able to hear other musicians who are playing in isolation booths. They also enable audio engineers and record producers to monitor a live performance or live tracking.
The statutory definition states:
A "digital audio recording device" is any machine or device of a type commonly distributed to individuals for use by individuals, whether or not included with or as part of some other machine or device, the digital recording function of which is designed or marketed for the primary purpose of, and that is capable of, making a digital audio copied recording for private use.
Magnetic storage in the form of wire recording—audio recording on a wire—was publicized by Oberlin Smith in the Sept 8, 1888 issue of "Electrical World". Smith had previously filed a patent in September, 1878 but found no opportunity to pursue the idea as his business was machine tools. The first publicly demonstrated (Paris Exposition of 1900) magnetic recorder was invented by Valdemar Poulsen in 1898. Poulsen's device recorded a signal on a wire wrapped around a drum. In 1928, Fritz Pfleumer developed the first magnetic tape recorder. Early magnetic storage devices were designed to record analog audio signals. Computers and now most audio and video magnetic storage devices record digital data.
Under the AHRA, importers and manufacturers pay royalties on "digital audio recording devices" and "digital audio recording media". Those who wish to import, manufacture and distribute must seek a statutory license from the Copyright Office. Royalties are based on "transfer price", either the sale price or the price recorded for customs purposes in the case of importers.
Daly holds six US patents for audio and musical devices and is inventor of various audio devices including the early electrical guitar processor, the Moan Tone used by Nils Lofgren and others in live performance and recording and the recording studio device, Master Mount (later sold to Tandy Corp.) and is holder of multiple US Patent beginning with US Patent # 4,151,971 and US Patent 4,074,883, with his latest US DSP and audio-involved patents awarded in 2016 and 2017. As well as the US Patent App. for a DSP audio enhancing technology, HaloField. During a break from the music business of several years, Daly consulted for the US Government's Comcast STC Satellite Television Corporation and designed for Comcast/STC, the PSR2000, the first prototype desktop appliance for digital music downloads, done in conjunction with Hartford Gunn, then President of STC, and prior first president of PBS. In 1997 Daly, at the request of Keith Richards and his producer at the time, fellow industry icon Rob Fraboni, went on the road with The Rolling Stones during their Bridges To Babylon tour and recorded the Stones for six nights on the tour in California and Nevada using Daly’s experimental Aura-Live recording technology. These recordings have not been released as of 2018 and are the possession of the Rolling Stones band. At the long-time behest of Fraboni, Daly experimented with multiple technologies over several years before ultimately creating a DSP sound processor, HaloField, a digital audio altering process said to give the same listener perception as the original live sound prior to recording.
Among the vast and often rapid changes that have taken place over the last century of audio recording, it is notable that there is one crucial audio device, invented at the start of the "Electrical Era", which has survived virtually unchanged since its introduction in the 1920s: the electro-acoustic transducer, or loudspeaker. The most common form is the dynamic loudspeaker – effectively a dynamic microphone in reverse. This device typically consists of a shallow conical diaphragm, usually of a stiff paper-like material concentrically pleated to make it more flexible, firmly fastened at its perimeter, with the coil of a moving-coil electromagnetic driver attached around its apex. When an audio signal from a recording, a microphone, or an electrified instrument is fed through an amplifier to the loudspeaker, the varying electromagnetic field created in the coil causes it and the attached cone to move backward and forward, and this movement generates the audio-frequency pressure waves that travel through the air to our ears, which hear them as sound. Although there have been numerous refinements to the technology, and other related technologies have been introduced (e.g. the electrostatic loudspeaker), the basic design and function of the dynamic loudspeaker has not changed substantially in 90 years, and it remains overwhelmingly the most common, sonically accurate and reliable means of converting electronic audio signals back into audible sound.
The audio amplifier was invented around 1912 by Lee De Forest, made possible by his invention of the first practical amplifying electrical component, the triode vacuum tube (or "valve" in British English) in 1907. The triode was a three terminal device with a control grid that can modulate the flow of electrons from the filament to the plate. The triode vacuum amplifier was used to make the first AM radio. Early audio power amplifiers were based on vacuum tubes and some of these achieved notably high audio quality (e.g., the Williamson amplifier of 1947-9). Audio power amplifiers based on transistors became practical with the wide availability of inexpensive transistors in the late 1960s. Since the 1970s, most modern audio amplifiers are based on solid state devices (transistors such as BJTs, FETs and MOSFETs). Transistor-based amplifiers are lighter in weight, more reliable and require less maintenance than tube amplifiers. In the 2010s, there are still audio enthusiasts, musicians (particularly electric guitarists, electric bassists, Hammond organ players and Fender Rhodes electric piano players, among others), audio engineers and music producers who prefer tube-based amplifiers, and what is perceived as a "warmer" tube sound.
Key design parameters for audio power amplifiers are frequency response, gain, noise, and distortion. These are interdependent; increasing gain often leads to undesirable increases in noise and distortion. While negative feedback actually reduces the gain, it also reduces distortion. Most audio amplifiers are linear amplifiers operating in class AB.
Audio input devices are used to capture sound. In some cases, an audio output device can be used as an input device, in order to capture produced sound. Audio input devices allow a user to send audio signals to a computer for processing, recording, or carrying out commands. Devices such as microphones allow users to speak to the computer in order to record a voice message or navigate software.Aside from recording, audio input devices are also used with speech recognition software.
Bettini made a number of high-end phonographs that are highly sought-after today. He invented the Micro-Recorder and Micro-Reproducer, recording and playback devices that improved the sound quality of recordings made on brown wax phonograph cylinders, the first commercially practical recording medium. There were many models and refinements but they all centered on the attachment of the stylus to the diaphragm by a multi-legged unit he called a "spider". Most of his inventions were marketed to an affluent clientele comprising the first generation of what would now be called audiophiles. One of his later inventions was a universal speed indicator, a device that aided the fine speed adjustment of a phonograph motor.
Inventor George Eash invented a cartridge design in 1953, called the Fidelipac cartridge. The Eash cartridge was later licensed by manufacturers, notably the Collins Radio Company, which first introduced a cartridge system for broadcasting at the National Association of Broadcasters 1959 annual show. Fidelipac cartridges (nicknamed "carts" by DJs and radio engineers) were used by many radio stations for commercials, jingles, and other short items. Eash later formed Fidelipac Corporation to manufacture and market tapes and recorders, as did several others, including Audio-Pak (Audio Devices Corp.).
Besides being far easier to handle, the wax recording medium also allowed for lengthier recordings and created superior playback quality. Additionally the Graphophones initially deployed foot treadles to rotate the recordings, then wind-up clockwork drive mechanisms, and finally migrated to electric motors, instead of the manual crank that was used on Edison's phonograph. The numerous improvements allowed for a sound quality that was significantly better than Edison's machine.
Shortly after Thomas Edison invented the phonograph, the first device for recording sound, in 1877, he thought that the main use for the new device would be for recording speech in business settings. (Given the low audio fidelity of earliest versions of the phonograph, recording music may not have seemed to be a major application.) Some early phonographs were indeed used this way, but this did not become common until the mass production of reusable wax cylinders in the late 1880s. The differentiation of office dictation devices from other early phonographs, which commonly had attachments for making one's own recordings, was gradual. The machine marketed by the Edison Records company was trademarked as the "Ediphone". 
Sound recording and reproduction is an electrical or mechanical inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording. Analog (or analogue) recording ("Greek", ana = "according to" and logos = "relationship") is a technique used to store signals of audio or video information for later playback. In digital recording, the analog signal of video or sound is converted into a stream of discrete numbers, representing the changes in chroma and luminance values (video) orair-pressure (audio) through time, thus making an abstract template for the original sound or moving image. In 1967, the first digital audio magnetic tape recorder is invented. A 12-bit 30 kHz stereo device using a compander to extend the dynamic range.The history of sound recording can cover mechanical, acoustical, electrical, magnetic and digital recording. Methods and media for sound recording are varied and have undergone significant changes between the first time sound was actually recorded for later playback until now. Engineers at AEG, working with the chemical giant IG Farben a German chemical industry in Frankfurt am Main, created the world's first practical magnetic tape recorder, the "K1", which was first demonstrated in 1935. The three major firms BASF, Bayer and Hoechst produced several hundred different dyes, along with the five smaller firms Agfa, Cassella and some other companies.
Today, DART royalties consist of payments made to the US Copyright Office for "blank CDs and personal audio devices, media centers, satellite radio devices, and car audio systems that have recording capabilities", as stated by AARC, who distributes a majority of AHRA funds.
The first was the invention of time code. Whereas film negative had numbers printed optically along the side of the film, so that every frame could be identified exactly, video tape had no such system. Only video, audio, and a control pulse were recorded. Early attempts to rectify this were primitive to say the least. An announcer reciting the seconds was recorded onto an audio channel on the tape. Time code introduced frame precision, by recording a machine readable signal on an audio channel. A time code reader device translated this signal into hours, minutes, seconds and frames, originally displayed on a Nixie tube display, and later with LED readouts. This innovation made it possible for the editor to note the exact frames at which to make a cut, and thus be much more precise. He could create a paper edit by writing down the numbers of the first and last frames of each shot, and then arrange them in order on paper prior to the actual edit session with the expensive VTRs.
Until the invention of solid state devices such as the transistor, all electronic amplification was produced by valve (tube) amplifiers. While solid-state devices prevail in most audio amplifiers today, valve audio amplifiers are still used where their audible characteristics are considered pleasing, for example in music performance or music reproduction.
Electric sound recording and reproduction are electrical or mechanical techniques and devices for the inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. Acoustic analog recording is achieved by a small microphone diaphragm that can record sound waves on a phonograph (in which a stylus senses grooves on a record) or magnetic tape. The first practical sound recording and reproduction device was the mechanical phonograph cylinder, invented by Thomas Edison in 1877 and patented in 1878. 
The next major technical development was the invention of the gramophone disc in 1889. For much of the 20th century, records were the most common way of selling sound recordings. The widespread availability of records and the development of radio broadcasting enabled a much larger proportion of people to listen to songs and pieces performed by the top artists, enabling the development of national and even international musical stars. In the 1970s, the compact cassette became a major consumer audio format. Advances in electronic and mechanical miniaturization led to the development of the Sony Walkman, a pocket-sized cassette player introduced in 1979, which allowed consumers to listen to their favourite albums outside of their home.
Sound recording and reproduction is the electrical or mechanical re-creation or amplification of sound, often as music. This involves the use of audio equipment such as microphones, recording devices, and loudspeakers. From early beginnings with the invention of the phonograph using purely mechanical techniques, the field has advanced with the invention of electrical recording, the mass production of the 78 record, the magnetic wire recorder followed by the tape recorder, the vinyl LP record. The invention of the compact cassette in the 1960s, followed by Sony's Walkman, gave a major boost to the mass distribution of music recordings, and the invention of digital recording and the compact disc in 1983 brought massive improvements in ruggedness and quality. The most recent developments have been in digital audio players.
Sound recording began as a purely mechanical process. Except for a few crude telephone-based recording devices with no means of amplification, such as the Telegraphone, it remained so until the 1920s, when several recent radio-related developments in electronics converged to revolutionize the recording process. These included improved microphones and auxiliary devices such as electronic filters, all dependent on electronic amplification to be of practical use in recording. In 1906, Lee De Forest invented the "Audion" triode vacuum tube, an electronic valve that could amplify weak electrical signals. By 1915, it was in use in long-distance telephone circuits that made conversations between New York and San Francisco practical. Refined versions of this tube were the basis of all electronic sound systems until the commercial introduction of the first transistor-based audio devices in the 1950s.
Sound recording began as a purely mechanical process. Except for a few crude telephone-based recording devices with no means of amplification, such as the Telegraphone,[14] it remained so until the 1920s when several radio-related developments in electronics converged to revolutionize the recording process. These included improved microphones and auxiliary devices such as electronic filters, all dependent on electronic amplification to be of practical use in recording. In 1906, Lee De Forest invented the Audion triode vacuum tube, an electronic valve that could amplify weak electrical signals. By 1915, it was in use in long-distance telephone circuits that made conversations between New York and San Francisco practical. Refined versions of this tube were the basis of all electronic sound systems until the commercial introduction of the first transistor-based audio devices in the mid-1950s.