Instruct: Given a question, retrieve documents that can help answer the question.
Query: Who invented the first audio recording device?
Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Edison's original phonograph recorded on sheets of tinfoil and was little more than a crude curiosity, although one that fascinated much of the public. These earliest phonographs were sold mainly to entrepreneurs who made a living out of traveling around the country giving "educational" lectures in hired halls or otherwise demonstrating the device to audiences for a fee. The tinfoil phonograph was not fit for any real practical use and public interest soon waned.
The first practical device that could amplify was the triode vacuum tube, invented in 1906 by Lee De Forest, which led to the first amplifiers around 1912. Vacuum tubes were used in almost all amplifiers until the 1960s–1970s when the transistor, invented in 1947, replaced them. Today, most amplifiers use transistors, but vacuum tubes continue to be used in some applications.
The development of audio communication technology in form of the telephone, first patented in 1876, created the need to increase the amplitude of electrical signals to extend the transmission of signals over increasingly long distances. In telegraphy, this problem had been solved with intermediate devices at stations that replenished the dissipated energy by operating a signal recorder and transmitter back-to-back, forming a relay, so that a local energy source at each intermediate station powered the next leg of transmission.
For duplex transmission, i.e. sending and receiving in both directions, bi-directional relay repeaters were developed starting with the work of C. F. Varley for telegraphic transmission. Duplex transmission was essential for telephony and the problem was not satisfactorily solved until 1904, when H. E. Shreeve of the American Telephone and Telegraph Company improved existing attempts at constructing a telephone repeater consisting of back-to-back carbon-granule transmitter and electrodynamic receiver pairs. The Shreeve repeater was first tested on a line between Boston and Amesbury, MA, and more refined devices remained in service for some time. After the turn of the century it was found that negative resistance mercury lamps could amplify, and were also tried in repeaters, with little success.
Compact disc (CD) is a digital optical disc data storage format that was co-developed by Philips and Sony and released in 1982. The format was originally developed to store and play only sound recordings (CD-DA) but was later adapted for storage of data (CD-ROM). Several other formats were further derived from these, including write-once audio and data storage (CD-R), rewritable media (CD-RW), Video Compact Disc (VCD), Super Video Compact Disc (SVCD), Photo CD, PictureCD, CD-i, and Enhanced Music CD. The first commercially available audio CD player, the Sony CDP-101, was released October 1982 in Japan.
The development of thermionic valves starting around 1902, provided an entirely electronic method of amplifying signals. The first practical version of such devices was the Audion triode, invented in 1906 by Lee De Forest, which led to the first amplifiers around 1912. Since the only previous device which was widely used to strengthen a signal was the relay used in telegraph systems, the amplifying vacuum tube was first called an "electron relay". The terms "amplifier" and "amplification", derived from the Latin "amplificare", ("to enlarge or expand"), were first used for this new capability around 1915 when triodes became widespread.
An amplifier can either be a separate piece of equipment or an electrical circuit contained within another device. Amplification is fundamental to modern electronics, and amplifiers are widely used in almost all electronic equipment. Amplifiers can be categorized in different ways. One is by the frequency of the electronic signal being amplified. For example, audio amplifiers amplify signals in the audio (sound) range of less than 20 kHz, RF amplifiers amplify frequencies in the radio frequency range between 20 kHz and 300 GHz, and servo amplifiers and instrumentation amplifiers may work with very low frequencies down to direct current. Amplifiers can also be categorized by their physical placement in the signal chain; a preamplifier may precede other signal processing stages, for example. The first practical electrical device which could amplify was the triode vacuum tube, invented in 1906 by Lee De Forest, which led to the first amplifiers around 1912. Today most amplifiers use transistors.
Eventually communication reached an electronic state, and the telegraph was invented. Harrison Dyar, who sent electrical sparks through chemically treated paper tape to burn dots and dashes, invented the first telegraph in the USA. The telegraph was the first piece of equipment that allowed users to send electronic messages. A more developed version came from Samuel Morse, whose telegraph printed code on tape and was operated using a keypad and an earpiece. The pattern of communication soon became known as Morse code.
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.
The CD was planned to be the successor of the vinyl record for playing music, rather than primarily as a data storage medium. From its origins as a musical format, CDs have grown to encompass other applications. In 1983, following the CD's introduction, Immink and Braat presented the first experiments with erasable compact discs during the 73rd AES Convention.
In June 1985, the computer-readable CD-ROM (read-only memory) and, in 1990, CD-Recordable were introduced, also developed by both Sony and Philips. Recordable CDs were a new alternative to tape for recording music and copying music albums without defects introduced in compression used in other digital recording methods. Other newer video formats such as DVD and Blu-ray use the same physical geometry as CD, and most DVD and Blu-ray players are backward compatible with audio CD.
In 1947, Clarence and Ruby Moore began by modifying existing makes and models of tape recorders to make them more rugged. In 1949, Moore obtained a groundbreaking patent, the first tape recorder with a built-in power amplifier for public address duties, which was introduced in 1950. In 1953, Crown added a line of compact loudspeakers as accessories to the reel to reel tape recorders.
In 1959, Crown began making standalone tube power amplifiers. By 1963, solid state electronics development allowed Crown to produce a more robust tape recorder, and in 1964, their first solid state power amplifier: the low-profile SA 20-20. In 1967, the DC300 was introduced as the first AB+B circuitry amplifier with 150 watts per channel at eight ohms. The DC300 proved very popular with sound reinforcement system owners and moved Crown into a leadership position in terms of power amplifier sales worldwide. As well, the DC300 was seen as a breakthrough product by commercial sound system contractors seeking to power their constant voltage speaker systems without the frequency response limitations and power losses associated with output power transformers which had previously been required. In November 2007, after 40 years of service, the Crown DC300 was inducted into the TEC Awards TECnology Hall of Fame in New York on the opening day of the Audio Engineering Society's 123rd convention. George Peterson, executive editor of Mix magazine, said of the DC300 that it "was a classic that really ushered in and defined the era of the modern power amplifier."
The first telephone call was made on March 10, 1876 by Alexander Graham Bell. Bell demonstrated his ability to "talk with electricity" by transmitting a call to his assistant, Thomas Watson. The first words transmitted were "Mr Watson, come here. I want to see you." 
This event has been called Bell's "greatest success", as it demonstrated the first successful use of the telephone. Although it was his greatest success, he refused to have one in his own home because it was something he invented by mistake and saw it as a distraction from his main studies.
Magnetic cassette technology was developed in 1963 by the Dutch electronics firm Philips. In the late 1960s, the introduction of prerecorded cassette tapes made it possible to listen to tapes of music on car stereos, though vinyl remained the most popular format for home listening.
The first commercial recording was made by Oskar Fried with the Berlin State Opera Orchestra in 1924 for Polydor. Along with Symphony No. 4, the Seventh is the most popular Bruckner symphony both in the concert hall and on record.
The origin of SM57 may be traced to 1937, when Shure engineer Benjamin Bauer developed the first single-element directional microphone, the Unidyne, which had a cardioid pickup pattern. In 1959, another Shure engineer, Ernie Seeler, advanced the art of microphone design significantly with the Unidyne III. Seeler torture-tested the Unidyne III during three years of research and development and thereby, produced the SM series of rugged and reliable Shure microphone capsules. The "SM" stands for Studio Microphone; Seeler was an aficionado of classical music and expected the SM57 to be used for orchestras. Because he "despised" rock music, the TEC Foundation said that it was "ironic" that the microphone has become "a mainstay of rock music."
Around 1976, Philips and Sony showed prototypes of digital audio disc players, which were based on optical videodisc technology. In the interview by Tekla Perry for the IEEE Spectrum, May 2017, Immink explains that he got involved in the CD project at the end of 1979 when Sony and Philips had decided to jointly settle one design. Both Philips and Sony had shown prototype CD players to the press in 1978. The team at Philips, he says, "needed someone to do measurements of the two competing systems, the quality, how they coped with scratches, how they coped with imperfections of the disc. My job with the LaserDisc was finished, so I said, 'Sure, I could do it.'" Both Philips and Sony had come up with different rules for translating digital audio data to sequences of pits and lands. After a lot of experimentation, Immink improved the playing time by thirty percent by inventing a code that could better cope with the servo systems. The encoding system Immink devised came to be called Eight-to-fourteen modulation (EFM).
The primary steps in the commercialization of sound cinema were taken in the mid- to late 1920s. At first, the sound films which included synchronized dialogue, known as "talking pictures", or "talkies", were exclusively shorts. The earliest feature-length movies with recorded sound included only music and effects. The first feature film originally presented as a talkie was "The Jazz Singer", released in October 1927. A major hit, it was made with Vitaphone, which was at the time the leading brand of sound-on-disc technology. Sound-on-film, however, would soon become the standard for talking pictures.
Early attempts at digital audio workstations in the 1970s and 1980s faced limitations such as the high price of storage, and the vastly slower processing and disk speeds of the time. In 1978, Soundstream (who had made one of the first commercially available digital audio tape recorders in 1977) built what could be considered the first digital audio workstation using some of the most current computer hardware of the time. The "Digital Editing System", as Soundstream called it, consisted of a DEC PDP-11/60 minicomputer running a custom software package called DAP (Digital Audio Processor), a Braegen 14"-platter hard disk drive, a storage oscilloscope to display audio waveforms for editing, and a video display terminal for controlling the system. Interface cards that plugged into the PDP-11's Unibus slots (the "Digital Audio Interface", or "DAI") provided analog and digital audio input and output for interfacing to Soundstream's digital recorders and conventional analog tape recorders. The DAP software could perform edits to the audio recorded on the system's hard disks and provide effects such as crossfades.
Homemade mix tapes became common in the 1980s. Although the compact audio cassette by Philips appeared at the 1963 Berlin Radio Show, the sound quality of cassettes was not good enough to be seriously considered for music recording until further advances in tape formulations, including the advent of chrome and metal tape. Before the introduction of the audio cassette, the creation of a pop music compilation required specialized or cumbersome equipment, such as a reel-to-reel or 8 track recorder, that was often inaccessible to the casual music fan. As cassette tapes and recorders grew in popularity and portability, these technological hurdles were lowered to the point where the only resources required to create a mix were a handful of cassettes and a cassette recorder connected to a source of pre-recorded music, such as a radio or LP player. The 8-track tape cartridge was more popular for music recording during much of the 1960s, as the cassette was originally only mono and intended for vocal recordings only, such as in office dictation machines. But improvements in fidelity finally allowed the cassette to become a major player. The ready availability of the cassette and higher quality home recording decks to serve the casual home user allowed the cassette to become the dominant tape format, to the point that the 8 track tape nearly disappeared shortly after the turn of the 1980s. The growth of the mixtape was also encouraged by improved quality and increased popularity of audio cassette players in car entertainment systems, and by the introduction of the Sony Walkman in 1979.
Musical glasses were documented in Persia in the 14th century. The glass harp was created in 1741 by Irishman Richard Pockrich, who is known as the first virtuoso of the musical glasses. Pockrich called his instrument the "angelic organ" and it was played with sticks, rather than by rubbing the glasses with a moistened finger. It was reported in 1760 that, "Pockrich played Handel's "Water Music" on the glasses." His successful concert career was brought to a premature end by a fire in which both the inventor and instrument perished in 1759.
The Cooke and Wheatstone telegraph was an early electrical telegraph system dating from the 1830s invented by English inventor William Fothergill Cooke and English scientist Charles Wheatstone. It was the first telegraph system to be put into commercial service. The receiver consisted of a number of needles which could be moved by electromagnetic coils to point to letters on a board. This feature was liked by early users who were unwilling to learn codes, and employers who did not want to invest in staff training.
Telephone Newspapers, introduced in the 1890s, transmitted news and entertainment to subscribers over telephone lines. They were the first example of electronic broadcasting, although only a few were established, most commonly in European cities. These systems predated the development, in the 1920s, of radio broadcasting. They were eventually supplanted by radio stations, because radio signals could more easily cover much wider areas with higher quality audio, without incurring the costs of a telephone line infrastructure.
The introduction of the telephone in the mid-1870s included numerous demonstrations of its use for transmitting musical concerts over various distances. In one particularly advanced example, Clément Ader prepared a listening room at the 1881 Paris Electrical Exhibition, where attendees could listen to performances, in stereo, from the Paris Grand Opera. The concept also appeared in Edward Bellamy's influential 1888 utopian novel, "Looking Backward: 2000-1887", which foresaw audio entertainment sent over telephone lines to private homes.
The first person to use resonant circuits in a radio application was Nikola Tesla, who invented the resonant transformer in 1891. At a March 1893 St. Louis lecture he had demonstrated a wireless system that, although it was intended for wireless power transmission, had many of the elements of later radio communication systems. A grounded capacitance-loaded spark-excited resonant transformer (his "Tesla coil") attached to an elevated wire monopole antenna transmitted radio waves, which were received across the room by a similar wire antenna attached to a receiver consisting of a second grounded resonant transformer tuned to the transmitter's frequency, which lighted a Geissler tube. This system, patented by Tesla 2 September 1897, 4 months after Lodge's "syntonic" patent, was in effect an inductively coupled radio transmitter and receiver, the first use of the "four circuit" system claimed by Marconi in his 1900 patent "(below)". However, Tesla was mainly interested in wireless power and never developed a practical radio "communication" system.
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 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.
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.
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.
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.