Instruct: Given a question, retrieve relevant passages that answer the question.
Query: When were MP3s invented?
On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension ".mp3" was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named ".bit"). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (≈500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer. As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"".
Though spoken recordings were popular in 33⅓ vinyl record format for schools and libraries into the early 1970s, the beginning of the modern retail market for audiobooks can be traced to the wide adoption of cassette tapes during the 1970s. Cassette tapes were invented in 1963 and a few libraries, such as the Library of Congress, began distributing books on cassette by 1969. However, during the 1970s, a number of technological innovations allowed the cassette tape wider usage in libraries and also spawned the creation of new commercial audiobook market. These innovations included the introduction of small and cheap portable players such as the Walkman, and the widespread use of cassette decks in cars, particularly imported Japanese models which flooded the market during the multiple energy crises of the decade.
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.
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.
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.
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.
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).
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.
By 2000, Steve Jobs expressed interest in developing a portable music player. But Rubinstein demurred, saying the necessary components were not yet available. While on a routine supplier visit to Toshiba Corp. in February, 2001, however, Rubinstein first saw the tiny, 1.8-inch hard disk drive that became a critical component of the iPod. While Toshiba engineers had developed the drive, they were not sure how it could be used. At a Tokyo hotel later that evening, Rubinstein met with Jobs, who was in Japan on separate business. "I know how to do it now. All I need is a $10 million check," he told Jobs.
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.
In the early 1920s, Drs. Walter H. Schottky and Erwin Gerlach co-invented the first ribbon microphone. By turning the ribbon circuit in the opposite direction, they also invented the first ribbon loudspeaker. A few years later, Dr. Harry F. Olson of RCA started developing ribbon microphones using field coils and permanent magnets. The RCA Photophone Type PB-31 was commercially manufactured in 1931, greatly impacting the audio recording and broadcasting industries. Condenser microphones at the time could not compare to its frequency response. Radio City Music Hall employed PB-31s in 1932. The following year, the 44A came on the scene. Its tone and pattern control helped reduce reverberation. Many RCA ribbon models are still in use and valued by audio engineers.
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.
The first microphone that enabled proper voice telephony was the (loose-contact) carbon microphone (then called transmitter). This was independently developed around 1878 by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, and most historians credit him with its invention.
It is a widely accepted fact by now that the invention of the recordable cassette by the Philips Corporation and the commercial cassette distribution network in the Tel Aviv train station had a large impact on the popularity of Mediterranean Israeli music. Cassettes allowed the Mizrahi population create and distribute their own music within their communities. They also allowed for more musical integration. One could have Umm Kulthum and a neighbor who is an emerging singer.
Cassette tapes were a predominant factor in the growth of Mediterranean Israeli music in the 1970s. After first being a favorite at community celebrations, such as weddings and birthdays, the recording of one particular wedding party became a desired commodity in the Mizrahi ma'abarot ("transit camp"). These cassettes are what caused ethnomusicologist Amy Horowitz to start researching this blossoming new music style.
The carbon microphone was independently developed around 1878 by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, and most historians credit him with its invention.
A transistor radio is a small portable radio receiver that uses transistor-based circuitry. Following their development in 1954, made possible by the invention of the transistor in 1947, they became the most popular electronic communication device in history, with billions manufactured during the 1960s and 1970s. Their pocket size sparked a change in popular music listening habits, allowing people to listen to music anywhere they went. Beginning in the 1980s, however, cheap AM transistor radios were superseded by devices with higher audio quality such as portable CD players, personal audio players, boomboxes, and (eventually) smartphones, some of which contain radios themselves.
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."
The Macintosh Hard Disk 20 was the first hard drive developed by Apple Computer specifically for use with the Macintosh 512K. Introduced on September 17, 1985, it was part of Apple's long awaited solution toward completing the Macintosh Office (a suite of integrated business hardware & software) announced in January 1985. It would be over a year more before Apple would release the file server software AppleShare that would link all of the hardware together. By that time the SCSI interface introduced on the Macintosh Plus in January 1986, would accommodate far faster and more efficient hard drives, rendering the Hard Disk 20 virtually obsolete.
German inventor Johann Philipp Reis designed an early sound transmitter that used a metallic strip attached to a vibrating membrane that would produce intermittent current. Better results were achieved with the "liquid transmitter" design in Scottish-American Alexander Graham Bell's telephone of 1876 – the diaphragm was attached to a conductive rod in an acid solution. These systems, however, gave a very poor sound quality.
The first microphone that enabled proper voice telephony was the (loose-contact) carbon microphone. This was independently developed by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent (after a long legal dispute) in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, and most historians credit him with its invention. The carbon microphone is the direct prototype of today's microphones and was critical in the development of telephony, broadcasting and the recording industries. Thomas Edison refined the carbon microphone into his carbon-button transmitter of 1886. This microphone was employed at the first ever radio broadcast, a performance at the New York Metropolitan Opera House in 1910.
In 1916, E.C. Wente of Western Electric developed the next breakthrough with the first condenser microphone. In 1923, the first practical moving coil microphone was built. The Marconi-Sykes magnetophone, developed by Captain H. J. Round, became the standard for BBC studios in London. This was improved in 1930 by Alan Blumlein and Herbert Holman who released the HB1A and was the best standard of the day.
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."
Among Nakamatsu's early inventions is the Shoyu Churu Churu, a siphon pump used in the home to move soy sauce from large containers to smaller vessels for cooking and serving. His patented inventions include:
Based upon a patent issued in 1952, Nakamatsu claims to have invented the first floppy disk well before IBM's floppy disk patent was filed in 1969. However, what Nakamatsu patented in 1952 was a paper for optical sound player. In contrast to a floppy disk, this Nakamatsu patent discloses the use of printed paper for storage instead of the magnetic material of a floppy disk. It is not rewritable and lacks most elements of the IBM floppy disk patent. Since the paper was 'floppy' material, he claims he had invented the floppy disk (sometimes he uses the phrase "floppy media"); however, it should be noted that flexible magnetic recording media was well known prior to 1952, in tape and wire recording.
Constraining Innovators: In this section Lessig describes how innovators are being constrained and amongst the examples he uses he gives the company MP3.com. In 2000 this company launched a service that would allow users to have a "lockbox" to which they could upload their music and access it anywhere. Shortly after the service was launched several major record companies sued the company and judgement was later entered for Vivendi against MP3.com. A year later Vivendi bought MP3.com. He also describes how innovators are hampered both the uncertainty in the law and the content industry's attempt to use to law to regulate the internet in an attempt to protect their interests. Also in this section he describes how, when new technologies are invented, Congress has attempted to strike a balance so as to protect these new technologies from the older ones. He suggests that this balance has now changed and uses as an example Internet radio which he suggests has been burdened by regulations and royalty payments that broadcasters have not been.
In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999. The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing.
On September 25, 2007, Amazon Music, a online music store, was launched as Amazon MP3 in the US selling downloads exclusively in MP3 format without digital rights management. (In addition to copyright law, Amazon's terms of use agreements restrict use of the MP3s, but Amazon does not use digital rights management (DRM) to enforce those terms.) In addition to independent music labels, Amazon MP3 primarily sells music from the "Big 4" record labels: EMI, Universal, Warner Bros. Records, and Sony Music. Prior to the launch of this service, Amazon made an investment in Amie Street, a music store with a variable pricing model based on demand. Amazon MP3 was the first online offering of DRM-free music from all four major record companies.
In November 2007, the Kindle Store was launched as an e-book e-commerce store and can be accessed from any Amazon Kindle, Fire tablet or Kindle mobile app. At its launch, the store had more than 88,000 digital titles available. This number increased to more than 765,000 by August 2011 and as of January 2017 there were over five million e-books available in the U.S.
While MP3 is now patent-free, in 2001 it was both patented and entrenched, as noted by Richard Stallman in that year (in justifying a liberal license for Ogg Vorbis):
there is […] the danger that people will settle on MP3 format even though it is patented, and we won't be *allowed* to write free encoders for the most popular format. […] Ordinarily, if someone decides not to use a copylefted program because the license doesn't please him, that's his loss not ours. But if he rejects the Ogg/Vorbis code because of the license, and uses MP3 instead, then the problem rebounds on us—because his continued use of MP3 may help MP3 to become and stay entrenched.