Kasseta lentasi - Cassette tape

Ushbu maqola odatda Flibs tomonidan 1963 yilda taqdim etilgan audio yozuvlar uchun ishlatiladigan lenta formati haqida[muhokama qilish]. Boshqa audio, video va ma'lumot lentalarining kassetalari formatlari uchun qarang Kasseta va patron lentalari.

Yilni kasseta
Compact cassette logo.svg
Compactcassette.jpg
A TDK SA90 II toifadagi ixcham kasseta
Media turiMagnit lenta kassetasi
KodlashAnalog signal, to'rtta yo'lda
ImkoniyatlarOdatda har bir tomon uchun 30 yoki 45 daqiqalik audio (mos ravishda C60 va C90 formatlari), 120 daqiqa ham mavjud[1]
O'qing mexanizmTasma boshi
Yozing mexanizmTasma boshi
Ishlab chiqilgan tomonidanFlibs
FoydalanishOvoz va ma'lumotlarni saqlash
Kengaytirilgan danG'altakdan g'altakka audio lenta yozib olish

The Yilni kasseta yoki Musicassette (MC), shuningdek, odatda lenta kassetasi,[2] kassetali lenta, audio kassetayoki oddiygina lenta yoki kasseta, bu analog magnit lenta uchun yozuv formati audio yozuv va ijro etish. U tomonidan ishlab chiqilgan Flibs yilda Xasselt, Belgiya va 1963 yil sentyabr oyida taqdim etilgan.[3] Yilni kassetalar ikki shaklda mavjud bo'lib, ular tarkibida oldindan yozilgan kasseta (Musicassette) yoki to'liq yozib olinadigan "bo'sh" kasseta sifatida tarkib topgan. Ikkala shakl ham foydalanuvchi tomonidan qaytariladi.[4]

Yilni kassetali texnologiya dastlab ishlab chiqilgan diktant mashinalari, ammo yaxshilanishlar sodiqlik ixcham kassetani almashtirishga olib keldi stereo 8-trek kartrij va g'altakning g'ildiragi aksariyat professional bo'lmagan dasturlarda lenta yozuvi.[5] Uning ishlatilishi portativ audiodan tortib togacha uyga yozib olish ma'lumotni erta saqlashga mikrokompyuterlar. Avtomashinalar panelida ishlatish uchun mo'ljallangan birinchi kassetali (mono bo'lsa ham) 1968 yilda ishlab chiqarilgan. 1970-yillar va orqali davom ettirish 1990-yillar, kasseta avval yozilgan musiqaning eng keng tarqalgan ikkita formatidan biri edi LP yozuvi va keyinroq ixcham disk (CD).[6]

Yilni kassetalarda ikkita miniatyurali g'altaklar mavjud, ular orasida magnitlangan, polyester -plastik plyonka (magnit lenta) uzatiladi va o'raladi.[7] Ushbu g'altaklar va ularning xizmat ko'rsatadigan qismlari eng katta o'lchamlari bo'yicha 4 x 2,5 x 0,5 dyuym (10 sm × 6,3 sm × 1,3 sm) bo'lgan himoya plastik qobiq ichida saqlanadi. Tasmaning o'zi, go'yo "sakkizinchi dyuymli" lenta deb nomlanadi 1⁄8 dyuym (3,17 mm) kengligi, lekin u biroz kattaroq: 0,15 dyuym (3,81 mm).[8] Ikki stereo treklar juftligi (jami to'rtta) yoki ikkitasi monaural lentada audio treklar mavjud; lenta bir yo'nalishda, ikkinchisi (juftlik) boshqa yo'nalishda harakatlanayotganda bitta stereo juftlik yoki bitta monofonik trek o'ynaladi yoki yoziladi. Ushbu teskari yo'nalish kassetani aylantirish orqali yoki lenta tugaganligini aniqlaganda lenta harakatining teskari yo'nalishi ("avtomatik teskari") orqali amalga oshiriladi.[9]

Tarix

Yilni kassetadan oldin

Wollensak portativ makaradan magnitafonga yozish
Har xil lenta sifati va o'ynash vaqti kasetlari. Ustki qismi Maxell MX (IV toifa), pastki o'ng tomoni TDK SA (II toifa) va chap pastki qismi TDK D (I turi).
Kassetalarni qalam yoki qalam bilan qayta tiklash mumkin
Philips kompaniyasining birinchi (ko'chma) kassetali yozuvchilardan biri, Typ EL 3302 (1968)

1935 yilda, ixcham kassetaning chiqarilishidan bir necha o'n yillar oldin, AEG birinchisini chiqardi g'altakning magnitafoni (nemis tilida: Tonbandgerat), tijorat nomi bilan "Magnetofon ". Bu ixtiroga asoslangan edi magnit lenta (1928) tomonidan Fritz Pflyumer, shunga o'xshash texnologiyadan foydalanadigan, ammo ochiq makaralı (lenta tomonidan ishlab chiqarilgan) BASF ). Ushbu asboblar juda qimmat va ulardan foydalanish nisbatan qiyin bo'lgan va shuning uchun ular asosan mutaxassislar tomonidan ishlatilgan radio stantsiyalari va ovoz yozish studiyalari.

1953 yilga kelib AQShning 1 million uyida lenta mashinalari mavjud edi.[10] 1958 yilda, to'rt yillik rivojlanishdan so'ng, RCA Viktor stereo, chorak dyuymli, orqaga qaytariladigan, g'altakning g'ildiragini taqdim etdi RCA lenta kartrigi.[11][12] Biroq, u katta kassetani (5 × 7 dyuym yoki 13 × 18 sm) ishlatadi va oldindan yozib olingan bir nechta lentalarni taklif qiladi. Bir nechta versiyaga qaramay, u muvaffaqiyatsiz tugadi. Keyinchalik shunga o'xshash Elcaset bozorda ham muvaffaqiyatsizlikka uchradi.

Magnit lentali mashinalardan iste'molchilar foydalanish 1960-yillarning boshlarida, ijro etish mashinalari qulay va qulay dizaynga erishgandan so'ng boshlandi. Bunga kirish orqali yordam berildi tranzistorlar bu katta, mo'rt va qimmat o'rnini egalladi vakuumli quvurlar oldingi dizaynlarning G'altakdan lenta uy sharoitida foydalanish uchun qulayroq bo'ldi, ammo baribir ezoterik mahsulot bo'lib qoldi.

WIRAG, Flibsning Vena bo'limi ham tasvirlangan kartrijni ishlab chiqdi bitta teshikli kasseta, uning nemischa tavsiflangan nomiga moslashtirilgan Eynloch-Kassette.[13] Tasma va lenta tezligi Compact Cassette bilan bir xil edi. Grundig bilan keldi DC-International 1965 yilda ixcham kassetaning ko'k nashrlaridan olingan, ammo tarqatuvchi kompaniyalar talabiga binoan muvaffaqiyatsiz tugadi.[14]

Yilni kassetaning taqdimoti

1962 yilda, Flibs uchun ixcham kasseta vositasini ixtiro qildi audio xotira, uni Evropada 1963 yil 30 avgustda Berlin radio shousi,[15][16][17][18][19][20][21] va Qo'shma Shtatlarda (ostida Norelko tovar) 1964 yil noyabrda, bilan savdo belgisi ism Yilni kasseta. Flibs jamoasini Lou Ottens boshqargan Xasselt, Belgiya.[22][23][24]

"Flibs raqobatdosh edi Telefunken va Grundig o'z kassetasini dunyo miqyosidagi standart sifatida o'rnatish uchun kurashda va Yaponiyaning elektron ishlab chiqaruvchilaridan qo'llab-quvvatlashni xohladi. "[25] Biroq, natijada Flibsning ixcham kassetasi hukmronlik qildi Sony Flibsga bosim o'tkazish litsenziya ularga format bepul.[26] Flibs ham chiqargan Norelko 150-rasm 1964 yil noyabrda AQShda ovoz yozish moslamasi / pleer. 1966 yilga kelib faqat AQShda 250 mingdan ziyod ovoz yozish vositasi sotildi va Yaponiya tez orada asosiy yozuv manbaiga aylandi. 1968 yilga kelib 85 ta ishlab chiqaruvchi 2,4 milliondan ortiq o'yinchini sotgan.[21][27] 1960-yillarning oxiriga kelib, kasseta biznesi taxminan 150 million dollarga teng edi.[21]

Dastlabki yillarda tovush sifati o'rtacha edi, ammo 1970-yillarning boshlarida u ovozning sifatiga etib borganida keskin yaxshilandi. 8 ta lenta va takomillashishda davom etdi.[6] Yilni kasseta mashhur bo'lib ketdi (va qayta yozib olinadigan ) ga muqobil 12 dyuymli vinil LP 1970-yillarning oxirlarida.[6]

Musiqiy kassetalarning mashhurligi

"Bo'sh" (hali yozilmagan) ixcham kassetalarning ommaviy ishlab chiqarilishi 1964 yilda boshlangan Gannover, Germaniya.[21] Oldindan yozilgan musiqa kassetalari (shuningdek, nomi bilan tanilgan Musiqiy-kassetalar, va keyinchalik shunchaki Musiqiy kassetalar; M.C. qisqasi) Evropada 1965 yil oxirida boshlangan Mercury Record kompaniyasi, AQShning Philips filiali, M.C. 1966 yil iyul oyida AQShga. Dastlabki taklif 49 nomdan iborat edi.[28]

Biroq, tizim dastlab diktant va ko'chma foydalanish uchun ishlab chiqilgan bo'lib, dastlabki o'yinchilarning audio sifati musiqa uchun juda mos emas edi. Ba'zi dastlabki modellar ham ishonchsiz mexanik dizaynga ega edi. 1971 yilda Advent Corporation ularning Model 201 lenta maydonchasini birlashtirdi Dolby turi B shovqinni kamaytirish va xrom (IV) oksidi (CrO2) lenta, 3M korporatsiyasining Wollensak kamera bo'limi tomonidan etkazib beriladigan tijorat darajasidagi lentani tashish mexanizmi bilan. Bu format musiqiy foydalanish uchun jiddiyroq qabul qilinishiga olib keldi va davrni boshladi yuqori sadoqat kassetalar va pleyerlar.[5]

Kassetaning tug'ilishi va o'sishi 1960-yillarda boshlangan bo'lsa-da, uning madaniy lahzasi 1970-80-yillarda sodir bo'lgan.[21] Ushbu yillarda kassetaning mashhurligi yanada samarali, qulay va ko'chma musiqa usuli sifatida o'sdi.[21] Stereo lenta qavatlari va bom qutilari so'nggi o'n yilliklar ichida eng ko'p terilgan iste'mol mahsulotlaridan biriga aylandi.[21] Portativ cho'ntak yozish moslamalari va yuqori darajadagi ("hi-fi") pleyerlar, masalan Sony Walkman (1979), shuningdek, foydalanuvchilarga o'zlarining musiqalarini osongina istalgan joyda o'zlari bilan olib ketishga imkon berdi.[21] Kassetaning foydalanuvchilar uchun qulayligi tobora ortib borayotgani uning butun dunyoda mashhur bo'lishiga olib keldi.[21][29]

The Sony Walkman

Kabi tranzistorli radio 1950 va 1960 yillarda, ko'chma CD-pleer 1990-yillarda va MP3 pleer 2000-yillarda Walkman 80-yillarning o'n yilligi uchun portativ musiqa bozorini aniqladi, kassetalar savdosi esa ularni LPlar.[6][30] Jami vinil yozuv 1980-yillarda sotuvlar singllarning ko'proq sotilishi tufayli ancha yuqori bo'lib qoldi, garchi kasseta singllari 1990-yillarda bir muddat mashhurlikka erishdi.[30] Sotuvda vinilni bosib olish uchun kassetalarga yana bir to'siq bo'lgan do'kon o'g'irlash; ixcham kassetalar juda kichkina edi, o'g'ri osongina birini cho'ntak ichiga joylashtirishi va do'kondan chiqib ketmasdan chiqib ketishi mumkin edi. Buning oldini olish uchun chakana sotuvchilar kassetalarni katta hajmdagi "spagetti qutisi" ichiga yoki qulflangan holda joylashtirar edi ekran holatlari, ulardan har biri ko'rib chiqishni sezilarli darajada inhibe qiladi va shu bilan kassetalar savdosini kamaytiradi.[31] 1980-yillarning boshlarida ba'zi yozuvlar bu muammoni vinil yozuvlar bilan birga namoyish etishga imkon beradigan kassetalar uchun yangi, kattaroq paketlarni joriy qilish orqali hal qilishga intildi. ixcham disklar yoki ularga qo'shib vinilga nisbatan ko'proq bozor ustunligini berish bonus treklar.[31] Uillem Andriyessen texnologiyaning rivojlanishi "apparat dizaynerlariga [...] butun dunyo bo'ylab odamlarning mintaqaviy, iqlim, din, madaniyat, irq, jins, yosh va yoshga bog'liq bo'lmagan istaklaridan birini kashf etish va qondirish imkonini berdi" deb yozgan. ta'lim: istalgan vaqtda, istalgan joyda musiqadan zavqlanish istagi, [...] istalgan istalgan ovoz sifati va deyarli istalgan narxda.[32]

Kassetalar olib kelingan sof texnologik yutuqlardan tashqari, ular ijtimoiy o'zgarishlarning katalizatori bo'lib xizmat qilishdi. Ularning chidamliligi va nusxalash qulayligi er osti rok va punk musiqalarini ortda qoldirishga yordam berdi Temir parda, yosh avlodlar orasida G'arb madaniyati uchun joy yaratish.[33] Xuddi shunday sabablarga ko'ra kassetalar rivojlanayotgan mamlakatlarda mashhur bo'ldi.

Kassetalarning eng mashhur siyosiy qo'llanilishlaridan biri va'zlarni tarqatish edi Oyatulloh Xomeyni davomida Eron 1979 yilgacha Eron inqilobi Xomeyni unda rejimni ag'darishga da'vat etgan Shoh, Muhammad Rizo Pahlaviy.[34] Davomida Chili harbiy diktaturasi (1973-1990) qaerda "kasseta madaniyati" paydo bo'ldi qora ro'yxatga kiritilgan boshqa sabablarga ko'ra mavjud bo'lmagan musiqa yoki musiqa, yozuvlar birgalikda ishlatilmadi.[35][36][37] Biroz qaroqchi kabi kassetalarni ishlab chiqaruvchilar yaratdilar Cumbre y Cuatro O'tmishda mashhur musiqaga qo'shgan hissalari uchun maqtovga sazovor bo'ldi.[37] Diktaturaga qarshi qurollangan guruhlar kabi Manuel Rodriges vatanparvarlik fronti (FPMR) va Inqilobiy chap harakat (MIR) o'zlarining kurashlarini targ'ib qilish uchun kasetlardan foydalanganlar.[36]

1970-yillarda Hindistonda kassetalar istalmagan xristian va islomiy ta'sirlarni an'anaviy ravishda sikxlar va hindular hududlariga olib kirishda ayblangan. Kasseta texnologiyasi juda rivojlangan bozor edi Hindistonda pop musiqa, konservatorlarning tanqidiga uchragan va shu bilan birga qonuniy ovoz yozish kompaniyalari uchun katta bozor, shuningdek, pirat lentalar yaratgan.[38] Ba'zi savdo kanallari kassetalar bilan bog'liq edi: Ispaniyada yonilg'i quyish shoxobchalari tez-tez kassetalarni sotadigan displey mavjud edi, shuningdek, asosiy musiqa taqdim etilayotganda, bu kassetalar kabi janrlar bilan bog'liq bo'lib qoldi. Çingene rhumba, 1970-80 yillarda juda mashhur bo'lgan engil musiqa va hazil lentalari.[39]

1985 yildan 1992 yilgacha kassetali lenta Buyuk Britaniyada eng ommabop format bo'lib, qadoqlashning innovatsion dizayni bilan tajriba o'tkazgan yozuv yorliqlari bo'lgan. Davrdagi dizayner quyidagicha tushuntirdi: "O'sha paytda sohada juda ko'p pul bor edi, biz dizayn bilan hamma narsani sinab ko'rishimiz mumkin edi". Ning kiritilishi bitta kassetali "kasseta" deb nomlangan, shuningdek, bu davrning bir qismi bo'lgan va ixcham kasseta shaklida musiqiy singlni namoyish etgan. 2005 yilgacha kassetalar ba'zilarida musiqa sotib olish va tinglash uchun dominant vosita bo'lib qoldi rivojlanayotgan davlatlar, lekin ixcham disk (CD) texnologiyasi shu vaqtgacha butun dunyo musiqa bozorlarining aksariyat qismida ixcham kassetani almashtirdi.[40][41]

Rad etish

Ovozli kassetalar sifatida aniqlangan bo'sh kompakt kassetalar.

Kassetalar, masalan, ma'lum ilovalar uchun mashhur bo'lib qoldi avtomobil audio, shaxsiy stereo va telefon javob berish mashinalari, 1990 yillarga to'g'ri keladi. Kassetali pleyerlar odatda zarbalarga CD pleyerlarga nisbatan ancha chidamli bo'lgan va ularning past darajada sodiqligi jiddiy kamchilik deb hisoblanmagan. Kirish bilan elektron o'tkazib yuborishdan himoya qilish harakatda ko'chma CD pleerlardan foydalanish imkoniyati paydo bo'ldi va avtomobil CD pleerlari hayotga yaroqli bo'ldi.

1993 yilga kelib CD-pleerlarning yillik etkazib berilishi 5 millionga etdi, bu o'tgan yilga nisbatan 21 foizga ko'pdir; kasseta plyonkalari jo'natmalari 7 foizga kamayib, taxminan 3,4 million kishiga etdi.[42] 2000-yillarning boshlarida CD pleer tezda Evropa va Amerikadagi yangi avtoulovlarning ko'pchiligida odatiy audio komponent sifatida kasseta pleyerini almashtirdi.[iqtibos kerak ]

AQShda oldindan yozib olingan musiqa kassetalarining savdosi 1990 yildagi 442 milliondan 2007 yilga kelib 274 minggacha kamaydi.[43] AQShning yirik musiqa kompaniyalarining aksariyati 2003 yilgacha oldindan yozib olingan kassetalarni ishlab chiqarishni to'xtatdilar.

Uchun audiokitoblar, kassetalar bozorning umumiy savdosining 50% dan ko'prog'ini tashkil etgan so'nggi yil 2002 yil bo'lib, ular hukmron ommaviy axborot vositasi sifatida kompakt-disklarga almashtirildi.[44] Ko'pgina bosma nashrlar, masalan, 1970-2000-yillarda kasetning gullab-yashnashi davrida nashr etilgan nashrlar, faqat asl nusxalarida mavjud.

Kasseta pleyeriga ega bo'lgan so'nggi yangi mashina 2010 yil edi Lexus SC 430.[45] Xuddi shu yili Sony shaxsiy kassetali pleerlarni ishlab chiqarishni to'xtatdi.[46] 2011 yilda Oksford ingliz lug'ati "kassetali pleyer" so'zini o'zining 12-nashrining Qisqacha versiyasidan chiqarib tashladi.[47] Ba'zi ommaviy axborot vositalari "kasseta lentasi" atamasi olib tashlanmoqda, deb xato qilishdi.[48]

XXI asrdan foydalanish va uyg'onish

Birma musiqiy kassetalari sotilmoqda, Yangon, Myanma.

Garchi ko'chma raqamli registrlar bugungi kunda eng keng tarqalgan bo'lib, analog lenta ba'zi rassomlar va iste'molchilar uchun kerakli variant bo'lib qolmoqda.[49][50] Kabi eski janrlar "dansband "o'z muxlislariga eng yaxshi tanish bo'lgan formatni ma'qullashi mumkin.[51] Ba'zi musiqachilar va DJlar mustaqil musiqa jamoa arzonligi va ishlatishda qulayligi tufayli kasetlardan foydalanish va chiqarish an'analarini saqlab kelmoqda.[49][50] Yer osti va DIY jamoalar muntazam ravishda, ba'zan esa faqat kasseta formatida, xususan eksperimental musiqa doiralar va kamroq darajada hardcore pank, o'lim metall va qora metall formatga bo'lgan muhabbat tufayli doiralar. Hatto yirik yorliqli yulduzlar orasida ham shaklda kamida bitta sadoqatli kishi bor: Thurston Mur 2009 yilda da'vo qilgan: "Men faqat kassetalarni tinglayman".[52] Juda oz sonli kompaniyalar (2020 yilga kelib) hali ham kassetalar ishlab chiqaradi. Ular orasida AQShdan bo'lgan National Audio Company va Frantsiyadan Recording The Masters nomi bilan tanilgan Mulann ham bor.[53][54] Ikkalasi ham o'zlarining magnit lentalarini yasashadi, ilgari tashqi manbadan.

2010 yilda Botsvanada joylashgan Diamond Studios o'z rejalarini e'lon qildi[55] qaroqchilikka qarshi kurash maqsadida kassetalarni ommaviy ishlab chiqaradigan zavodni tashkil etish uchun. U 2011 yilda ochilgan.[56]

Janubiy Koreyada kichkintoylar uchun erta ingliz tilidagi ta'lim portlashi 2011 yildan boshlab ingliz tilidagi kassetalarga doimiy talabni rag'batlantiradi., arzon narx tufayli.[57]

Hindistonda 2009 yilgacha arzonligi sababli kino va bag'ishlangan musiqa kasseta shaklida chiqarishda davom etdi.[58]

Missuri shtatidagi National Audio Company, AQShda qolgan audiokassetalarni ishlab chiqaruvchilardan eng yirigi, ommaviy ishlab chiqarishni nazorat qildi. "Ajoyib aralash # 1" filmdan kasseta Galaktika posbonlari 2014 yilda.[59]Ular 2014 yilda 10 milliondan ortiq lenta ishlab chiqarganliklari va keyingi yilda sotuvlar 20 foizga o'sganligi, bu 1969 yilda ochilganlaridan beri eng yaxshi yil bo'lganligi haqida xabar berishdi.[60] 2016 yilda Qo'shma Shtatlarda kassetalar savdosi 74 foizga o'sib, 129 mingtani tashkil etdi.[61] 2018 yilda, bir necha yillik tanqislikdan so'ng, National Audio Company o'z magnit tasmasini ishlab chiqarishni boshladi va bu yangi lenta zaxiralarini dunyodagi birinchi taniqli ishlab chiqaruvchisi bo'ldi.[62] Mulann, sotib olgan kompaniya Piral / RMGI 2015 yilda va kelib chiqishi BASF, shuningdek, g'altak lenta formulasi asosida yangi kassetali lenta zaxirasini 2018 yilda ishlab chiqarishni boshladi.[63]

Yaponiya va Janubiy Koreya singari boshqa mamlakatlarda estrada aktyorlari o'xshash Matsuda Seyko,[64] SHINI,[65] va NCT 127[66] so'nggi materiallarini e'lon qilishdi cheklangan kassetali lentalar.

2016 yilda chakana savdo tarmog'i Urban Outfitters uzoq vaqtdan beri olib borilgan Vinil LPlar, bo'sh kassetalar va pleyerlar bilan birga oldindan yozib olingan yangi kassetalar qatorini olib yurishni boshladi[67] ham yangi, ham vintage albomlari bilan.

Bir qator synthwave rassomlar (masalan Yarim tunda, Maykl Oakli va Anders Enger Jensen) o'zlarining albomlarini kassetada nashr etdilar (odatdagi raqamli yuklab olish formatidan tashqari). Ushbu janrdagi ba'zi treklar (xususan, The Midnight's) Cheksiz yoz va Xotiralar, LeBrokning Iltimos, yig'lamang va Maykl Oakli Faralardagi quyon) musiqaning o'zi raqamli ijro etilayotganda ham kassetada tinglash muhitini yaratishda yordam beradigan trekning boshida yoki oxirida ovoz effektlarini o'z ichiga oladi.

2016 yildan beri kassetali lentalar savdosi mo''tadil qayta tiklanmoqda, 2016, 2017 va 2018 yillarda esa sotish hajmi oshdi.[68][69][70]

Xususiyatlari

1kHz audio ohangni o'z ichiga olgan stereo kassetadagi magnit maydonni ingl.

Kasseta qulaylik uchun juda yaxshi qadam edi g'ildirakdan g'altakka audio lenta yozib olish, kassetaning hajmi va tezligi cheklanganligi sababli, dastlab sifat jihatidan yomon taqqoslangan. 4 yo'lli stereo ochiq g'altakning formatidan farqli o'laroq, har ikki tomonning ikkita stereo treklari boshqa tomonning yo'llari bilan o'zaro bog'lanish o'rniga, bir-biriga qo'shni holda joylashgan. Bu mono-kassetali pleerlarga mono treklar sifatida "jamlangan" stereo yozuvlarni ijro etishga va stereo pleerlarga ikkala karnay orqali mono yozuvlarni ijro etishga ruxsat berdi. Lentaning kengligi 0,15 dyuym (3,81 mm), har bir mono trassaning kengligi 1,5 millimetr (0,059 dyuym), shuningdek, har bir yo'l o'rtasida qayd etilmagan qo'riqchi tasmasi mavjud. Stereoda har bir trek har biri 0,6 mm (0,024 dyuym) chap va o'ng kanalga bo'linadi, bo'shliq 0,3 mm (0,012 dyuym).[71] Tasma ijro etish boshi yonidan o'tib ketadi 1 7⁄8 sekundiga dyuym (4,76 sm / s), tezlik 30, 15 da ishlaydigan ochiq g'altakli mashinalarda tobora sekinlashib borayotgan tezlik seriyasining davomi hisoblanadi,7 1⁄2, yoki3 3⁄4 sekundiga dyuym.[8] Taqqoslash uchun odatdagi ochiq g'altak1⁄4- 4 dyuymli iste'molchi formatida ishlatiladigan lenta kengligi 0,248 dyuym (6,3 mm), har bir trek .043 dyuym (1,1 mm) va kassetaning ikki yoki to'rt baravar tezligida ishlaydi.

Kasseta turlari

Yilni kassetaning ustki yuzasidagi tirqishlar uning turini bildiradi. Ushbu rasmning yuqori qismidagi orqa tomondan eng kassetali, faqat yozishni himoya qilish joylari mavjud (bu erda yozishni himoya qilish yorliqlari bilan qoplangan) I turi, uning lentasi temir oksididan iborat. Yozishni himoya qiladigan yorliqlarga ulashgan qo'shimcha chiziqlar bilan keyingi kasseta pastga II toifa, uning lentasi xrom va kobaltdan iborat. Ikkinchi toifadagi chuqurchalar va kassetaning o'rtasida qo'shimcha juftlik joylashgan pastki ikkita kassetalar IV toifa (metall); ikkinchisidagi yorliqlarni olib tashlashga e'tibor bering, ya'ni lenta yozishdan himoyalangan.
Qo'shimcha ma'lumotlar: Yilni kassetali lenta turlari va formulalari

Kasseta lentalari magnit qoplamali poliester tipidagi plastik plyonkadan tayyorlanadi. Asl magnit material gamma asosida yaratilgan temir oksidi (Fe2O3). 1970 yil, 3M kompaniyasi kobalt ishlab chiqardi hajmli doping lentaning umumiy chiqish darajasini oshirish uchun er-xotin qoplama texnikasi bilan birlashtirilgan jarayon. Ushbu mahsulot o'zining skotch lenta yozish lentalari ostida "Yuqori energiya" sifatida sotilgan.[72] Odatda arzon kassetalar "past shovqin" deb etiketlanadi, lekin odatda yuqori darajaga moslashtirilmaydi chastotali javob. Shu sababli, ba'zi bir past navli IEC I toifali lentalar, xususan, ovoz yozib olishdan ko'ra ma'lumotni saqlash uchun juda mos ravishda sotilgan.[iqtibos kerak ]

1968 yilda[73] DuPont, ixtirochisi xrom dioksid (CrO2) ishlab chiqarish jarayoni, CrO ni tijoratlashtirishni boshladi2 ommaviy axborot vositalari. Birinchi CrO2 kasseta 1970 yilda taqdim etilgan Kelish,[74] va keyinchalik qat'iy qo'llab-quvvatlandi BASF, magnit yozish lentasining ixtirochisi va uzoq vaqt ishlab chiqaruvchisi.[75] Keyinchalik, qoplamalar ishlatiladi magnetit (Fe3O4) kabi TDK Audua ovoz sifatiga yaqinlashish yoki uni oshirib yuborish maqsadida ishlab chiqarilgan vinil yozuvlar. Kobalt -adsorbsiyalangan temir oksidi (Avilyn) 1974 yilda TDK tomonidan kiritilgan va juda muvaffaqiyatli bo'lgan. Sof metall zarralarini ishlatadigan "IV toifa" lentalari (oksidli formulalardan farqli o'laroq) 1979 yilda Metafine savdo nomi ostida 3M tomonidan ishlab chiqarilgan. Bugungi kunda "odatdagi" yoki "xrom" sifatida sotiladigan ko'pgina kasetlarda lenta qoplamasi temir oksidi va kobaltdan turli xil nisbatlarda aralashtirilgan (va turli xil jarayonlardan foydalangan holda) iborat; bozorda toza (CrO) ishlatadigan kassetalar juda kam2) qoplama.[6]

Oddiy ovoz yozish moslamalari va oldingi kassetalar maydonchalari standart temir formulalari bilan ishlashga mo'ljallangan. Yangi lenta plyonkalari odatda kalitlarga va keyinchalik boshqalari uchun detektorlarga o'rnatiladi tarafkashlik va tenglashtirish yuqori sifatli lentalarga talablar. Eng keng tarqalgan temir oksidi lentalari (tomonidan belgilanadi IEC 60094 standarti,[9] sifatida "I toifa") 120 dan foydalaning.s tenglashtirish, xrom va kobalt bilan adsorbsiyalangan lentalar (IEC II toifa) 70 equal tenglashtirishni talab qiladi. Yozuvning noaniqlik darajasi ham boshqacha edi. BASF va Sony "ferrikrom" (FeCr) (IEC III turi) deb nomlanuvchi temir oksidi va xrom dioksidi bilan ikki qavatli lentani sinab ko'rdi, ammo ular 1970-yillarda qisqa vaqt ichida mavjud edi. Ular, II tipdagidek, 70 µ dan foydalanadilar. Metall kassetalarda (IEC IV toifa) 70 equal tenglashtirishdan foydalaniladi va tovush sifati va chidamliligi yanada yaxshilanadi. Sifat odatda narxda aks etadi; Odatda I toifa kasetlari eng arzon, IV turi esa odatda eng qimmatidir. Tijorat maqsadlarida oldindan yozib olingan kassetalarda ishlatiladigan BASF xrom tasmasi tovushni yaxshi sifatini oshirish uchun yuqori chastotali dinamik diapazonga imkon berish uchun I turdagi tenglashtirishdan foydalangan, ammo musiqa yorliqlari uchun eng katta savdo nuqtasi I tip kassetali qobiq temir va temir uchun ham ishlatilishi mumkin edi. xrom musiqa kassetalari uchun.

Kasseta qobig'ining tepasida joylashgan chiziqlar lenta turini bildiradi. I turdagi kassetalarda faqat mavjud yozishdan himoya qilish chuqurchalar, II toifa yozishdan himoya moslamalari yonida qo'shimcha juftlikka ega va IV toifa (metall) kasseta qobig'ining yuqori qismining o'rtasiga yaqin uchinchi to'plamga ega. Bu keyinchalik imkon beradi kassetaning pastki qismlari lenta turini avtomatik ravishda aniqlash va to'g'ri tanlanganlikni va tenglikni tanlash uchun.

Ushbu standartdan istisno 1980-yillardan boshlab mexanik hikoyalar qo'g'irchoqlari edi (masalan. Teddi Ruxpin ) IV tipdagi metall konfiguratsiya kassetasining qobig'idan foydalangan, ammo uning ichida oddiy I turdagi ovozli lenta bo'lgan. Ushbu o'yinchoqlar IV tipli tirqishlardan foydalanib, maxsus kodlangan lenta joylashtirilganligini aniqladilar, bu erda voqeaning ovozi chap kanalda saqlanadi va qo'g'irchoqning servosiga qanday va qachon harakat qilish kerakligini aytib berish uchun turli xil signal ohanglari qo'g'irchoq o'ng kanal.

Oldindan yozib qo'yilgan krom kassetalarning aksariyati 120 equal tenglashtirishni talab qiladi va byudjet uskunalari bilan mosligini ta'minlash uchun I toifa (I tip temir temir kassetalar bilan) sifatida ko'rib chiqiladi.

Lenta uzunligi

Tasmaning uzunligi odatda umumiy o'ynash vaqtining daqiqalari bilan o'lchanadi. Eng mashhur navlar (har doim "C" bosh harfi bilan sotiladi) C46 (har bir tomon uchun 23 daqiqa), C60 (har bir tomon uchun 30 minut), C90 va C120. C46 va C60 uzunliklari odatda 15 dan 16 mikrometrgacha (0,59 dan 0,63 milodiy), ammo C90s 10 dan 11 mkm gacha (0,39 dan 0,43 mils).[76] va (kamroq tarqalgan) C120 ning atigi 6 mm (0,24 mil) qalinligi bor,[77] ularni cho'zish yoki singanlikka ko'proq moyil qilish. Ba'zi sotuvchilar boshqalarga qaraganda saxiyroq bo'lib, C90 kassetasi uchun 129 metr (423 fut) lentani emas, balki 132 yoki 135 metr (433 yoki 443 fut) beradi. Bir vaqtning o'zida C180 lentalari ham mavjud edi,[78] ammo ular juda nozik va mo'rt edi va shu kabi ta'sirlardan aziyat chekdilar bosib chiqarish, bu ularni umumiy foydalanishga yaroqsiz holga keltirdi.

150 daqiqalik vaqt o'tmishda faqat Yaponiyada joylashgan Maxell (UR 150), Sony (CDixI 150) va TDK (TDK AE 150, CDing1 150 va CDing2 150) kompaniyalaridan mavjud edi. Bularning barchasi to'xtatildi - Maxell o'zining kassetalarini 10, 20, 60 va 90 daqiqalik uzunliklarda soddalashtirdi, Sony audiokassetalar bozoridan global miqyosda chiqdi va Taqlid, TDK savdo belgisining litsenziati iste'mol tovarlari bozoridan chiqib ketdi.

Boshqa uzunliklar C10, C12 va C15 kabi ba'zi sotuvchilardan ham mavjud (yoki ma'lumotni erta vaqtdan saqlash uchun foydalidir) uy kompyuterlari va telefonda javob berish mashinalari ), C30, C40, C50, C54, C64, C70, C74, C80, C84, C100, C105 va C110. 2010 yil oxirida, Thomann 4 va 8 pog'onali foydalanish uchun C10, C20, C30 va C40 IEC II toifali lenta kassetalarini taqdim etdi portastudiyalar.[79]

Ba'zi kompaniyalar 1980-yillarning boshlarida ko'chma kassetali magnitafonlari bilan bepul bo'sh kassetani o'z ichiga olgan. Panasonic Bu C14 edi va qo'shiq bir tomonida yozilgan, ikkinchisi esa bo'sh tomoni bilan birga kelgan. C74 va C100 dan tashqari, bunday nostandart uzunliklarni har doim topish qiyin bo'lgan va mashhur uzunliklarga qaraganda qimmatroq. Uyda lenta ixlosmandlari albomni lentaning bir yoki ikkala tomoniga yaxshilab o'rnatish uchun foydali bo'lgan uzunliklarni topishgan bo'lishi mumkin. Masalan, kompakt-disklarning dastlabki maksimal ijro etish vaqti 74 minut bo'lib, C74 kasetlarining nisbiy mashhurligini tushuntirdi.

A tomonning boshida etakchini ko'rsatadigan kassetaning ichida lenta chapdan o'ngga "o'ynaydi" (garchi, albatta, avtomatik teskari pastki har ikki yo'nalishda ham o'ynashi mumkin). Lenta bosim yostig'i bilan o'qish boshi bilan yaqin aloqada bosiladi; yo'naltiruvchi roliklar lentani to'g'ri holatida saqlashga yordam beradi. Silliq yugurishda g'altaklar va qobiq o'rtasida silliq astar (sirpanish varag'i) yordam beradi; bu erda layner shaffof. Magnit qalqon pleyerning boshlari tomonidan adashgan signallarni olishni kamaytiradi. Qobiqning yuqori chap burchagidagi yorliq joriy tomonga yozib olishga imkon beradi.

Yo'lning kengligi

Lentaning to'liq kengligi 3,8 mm. Uchun mono yozib olish trek kengligi 1,5 mm. Stereo rejimda har bir kanal 0,6 mm kenglikda, 0,3 mm ajratish bilan saqlanish kerak o'zaro faoliyat.[80]

Bosh bo'shligi

Magnitafonning "bosh oralig'i" bo'shliqqa, lenta harakati yo'nalishi bo'yicha, boshning qutb qismlari uchlari orasidagi bo'shliqni bildiradi. Bo'shliqsiz bosh "yopiq" magnit maydon hosil qiladi va shuning uchun lentadagi magnit domenlar bilan o'zaro ta'sir qilmaydi.

Bosh bo'shliq kengligi[tushuntirish kerak ] 2 µm ni tashkil qiladi[kimga ko'ra? ] bu nazariy maksimal chastotani beradi[iqtibos kerak ] taxminan 12 kHz (standart tezlikda 1 7/8 ips yoki 4.76 sm / s). Torroq bo'shliq yuqori chastota chegarasini beradi, ammo magnitlanishni zaiflashtiradi.[80] Shu bilan birga, bunday cheklovlarni ro'yxatga olish va ijro etishni kuchaytirish bo'limlarida tenglashtirish orqali tuzatish mumkin va torroq bo'shliqlar juda keng tarqalgan, ayniqsa qimmatroq kassetali mashinalarda. Masalan, RP-2 seriyali birlashtirilgan yozuv / ijro etish boshi (1980 va 1990-yillarda Nakamichi kassetasining ko'p qavatlarida ishlatilgan) 1,2 um bo'shliqqa ega edi, bu 20 kHz gacha chastota diapazonini tinglashga imkon beradi.[iqtibos kerak ] Kamroq bo'shliqning kengligi lentani magnitlashni qiyinlashtiradi, lekin ro'yxatga olish paytida chastota diapazonida ijro etishdan kamroq ahamiyatga ega, shuning uchun ikki boshli eritma qo'llanilishi mumkin: lentaning samarali magnitlanishiga imkon beradigan keng bo'shliq bilan ajratilgan yozuv boshi va ma'lum bir kenglikdagi tor bo'shliq bilan maxsus ijro etish boshi, ehtimol juda yuqori chastotali chastotalarni 20 kHz dan yuqori darajada osonlashtirishi mumkin.[iqtibos kerak ]

Alohida yozish va ijro etish boshlari kassetalar chiqarilganda qimmatroq g'altak-g'altakka lenta mashinalarining odatiy xususiyati bo'lgan, ammo ularni kassetalarga yozish yuqori sifatli reproduktsiya uchun talab paydo bo'lguncha kutish kerak edi va etarlicha kichik boshchalar ishlab chiqarilishi kerak edi .

Yozishdan himoya

Barcha kassetalarda a yozishni himoya qilish muhim materialni qayta yozib olish va tasodifiy o'chirishni oldini olish mexanizmi. Kassetaning har bir tomonida tepada plastik yorliq bor, u singan bo'lishi mumkin va qobiqda kichik chuqurlik qoldiriladi. Ushbu chuqurchaga kassetani kassetaning pastki qismiga kiritishda ro'yxatga olish funktsiyasining ishlashiga to'sqinlik qiladigan sezgir qo'lni kiritish mumkin. Agar kasseta yorliqlardan biri foydalanuvchiga qaragan holda va lentaning pastki qismida ochilgan bo'lsa, tegishli tomon uchun yozishdan himoya yorlig'i yuqori chap tomonda joylashgan. Ba'zan va odatda yuqori narxdagi kassetalarda ishlab chiqaruvchilar lentalarda yozishni himoya qilishni yoqish yoki o'chirish uchun ishlatilishi mumkin bo'lgan harakatlanuvchi paneli taqdim etdilar.

Agar keyinchalik kerak bo'lsa, bir parcha yopishqoq lenta himoyani chetlab o'tish uchun chuqurchaga joylashtirilishi mumkin yoki (ba'zi pastki qavatlarida) qo'lni himoyalangan lentaga yozib olish uchun bosib qo'yish mumkin. Qo'shimcha chuqurliklarni yopmaslik uchun qo'shimcha ehtiyotkorlik talab qilinadi yuqori tarafkashlik yoki yozishni himoya qiladigan yorliqlarga ulashgan metall tasma kasetlari.

Lenta rahbarlari

Ko'pgina kassetalarda magnit lenta har bir g'altakka odatda kuchli plastmassadan yasalgan etakchi bilan biriktirilgan. Ushbu rahbar kuchsizroq magnit lentani lenta oxiriga yetganda paydo bo'ladigan zarbadan himoya qiladi. Rahbarlar murakkab bo'lishi mumkin: plastik slayd xanjar olish markaziga qisqa to'liq shaffof bo'lmagan plastik lentani o'rnatadi; bir yoki bir nechta rangsiz yarim shaffof bo'lmagan plastik segmentlar; magnit lentaning o'ziga qo'shilishidan oldin, ta'minot g'altagining deyarli barcha qismini o'rab turgan aniq rahbar (rangsiz yarim shaffof bo'lmagan plastik segment) keladi. Aniq rahbar mikroskopik qo'shimchaga emas, balki zarbani uzun lentaga uzatadi. Rahbarlarni qurish va unga aloqador lenta pleer mexanizmlarini aks ettiruvchi turli xil patentlar chiqarildi.[81] Kassetali lenta foydalanuvchilari singan lentalarni tiklash uchun zaxira rahbarlaridan ham foydalanadilar.[iqtibos kerak ]

Tasma rahbarlarining kamchiliklari shundan iboratki, ovoz yozish yoki ijro etish lentaning boshidan boshlanib, foydalanuvchini magnit qism boshlanishiga ishora qilishga majbur qiladi. Diktant kabi ba'zi bir ilovalar uchun, odatda kuchli materialga ega bo'lgan va lentani oxirigacha bashorat qiladigan mashinalarda foydalanish uchun etakchisiz lentalarni o'z ichiga olgan maxsus kassetalar tayyorlanadi. Kassetalardan floppi uchun arzonroq alternativa sifatida foydalangan uy kompyuterlari (masalan.) Apple II, Commodore PET ) rahbarlar o'tmishni buzmaguncha ma'lumotlarni yozishni yoki o'qishni boshlamaslik uchun mo'ljallangan.[iqtibos kerak ]

Cheksiz tsiklli kasseta

Shuningdek qarang: Cheksiz lenta kartuşu

Ba'zi kassetalar to'xtovsiz uzluksiz lentani ijro etish uchun qilingan. Mavjud uzunliklar taxminan 30 soniyadan standart to'liq uzunlikka qadar. Ular qisqa xabar yoki musiqiy jingalani doimiy ravishda yoki qurilma ishga tushirilganda yoki doimiy ravishda yozib olish yoki o'ynash zarur bo'lganda ijro etilishi kerak bo'lgan holatlarda qo'llaniladi. Ba'zilar lenta pleyerlarini qayta tiklashga imkon berish uchun lentadagi sezgir plyonkani o'z ichiga oladi. 1969 yildayoq turli yo'nalishdagi patentlar chiqarilgan bo'lib, ular bir yo'nalishli, ikki yo'nalishli va avtomatik o'chirish va lentani iste'mol qilishga qarshi mexanizmlarga mos keladi. Bir variantda avtoulovning chiquvchi xabari uchun yarim kenglikdagi lenta va boshqa xabarlarni yozish uchun makaralarda yarim kenglikdagi lenta mavjud.[iqtibos kerak ]

Kassetali lenta adapteri

Kassetali lenta adapterlari tashqi audio manbalarini har qanday lenta pleeridan tinglashga ruxsat berish, lekin odatda foydalanilgan avtomobil audio tizimlar. A bilan biriktirilgan audio kabel telefon ulagichi lenta boshi tomonidan o'qilishi kerak bo'lgan elektr signallarini o'zgartiradi, mexanik tishli g'ildiraklar esa pleyer mexanizmi tomonidan boshqarilganda g'altakning harakatini haqiqiy lentalarsiz simulyatsiya qiladi.[82]

Ixtiyoriy mexanika

Xavfsizlik mexanizmi (SM) orqali lenta qo'llanmasi

Lentani ishonchli tarzda yopish uchun, avvalgisi BASF (1998 yildan boshlab EMTEC ) 1970 yil boshlarida SM qisqartmasi bilan e'lon qilingan Maxsus Mexanizm yoki Xavfsizlik Mexanizmi patentlangan, vaqtincha egallab olingan Agfa litsenziya bo'yicha. Ushbu xususiyat har birida lentani g'altakka yo'naltirish va nopok rulon paydo bo'lishining oldini olish uchun temir yo'lni o'z ichiga oladi.[83]

Raqobat pastki plastik sumkaning yarmidagi rulonlarga yaqinroq qo'shimcha deflektor pinlarini o'rnatib javob berdi. Ba'zi arzon narxlarda va oldindan yozib olingan ixcham kassetalar kasnaklarsiz tayyorlangan; lenta to'g'ridan-to'g'ri kapstan haydovchisiga tortiladi.[iqtibos kerak ] Tasmaning boshiga bosilishi uchun yaproq bulog'idagi odatiy namat o'rniga yopishtirilgan ko'pikli blokda yupqaroq namat bor.[iqtibos kerak ]

Kamchiliklar

Kassetani ijro etish ham professionallar, ham uy yozuvlari ixlosmandlarini xafa qiladigan ba'zi kamchiliklarga duch keldi. Tasma tezligi har xil qurilmalarda farq qilishi mumkin, natijada balandlik juda past yoki juda baland. Tezlik tez-tez fabrikada sozlangan va foydalanuvchilar tomonidan ularni o'zgartira olmagan. Sekin lenta tezligi lentadagi xirillash va shovqinni oshirdi va amalda yuqori qiymatlarni taqdim etdi Qoyil va chayqalish. Turli xil lentalarni shakllantirish va shovqinlarni kamaytirish sxemalari sun'iy ravishda yuqori chastotalarni va shovqin darajasini ko'targan yoki qisqartirgan. Shovqinni kamaytirish, shuningdek, o'qitilgan quloq eshitishi mumkin bo'lgan tovushga, ba'zan juda oson, ba'zi bir asarlar qo'shadi. Vau va Flutter, ammo ba'zida estetik sabablarga ko'ra qasddan yozuvlarga qo'shilishi mumkin. (Qarang Lo-fi musiqasi )

Nosoz pleyer yoki lenta yo'lidagi qarshilik, qabul qilish g'altagida etarli kuchlanishni ushlab turishga olib kelganda, umumiy mexanik muammo yuzaga keldi. Bu magnit lentani kassetaning pastki qismidan chiqarib yuborishi va pleyer mexanizmida chalkashib ketishiga olib keladi. Bunday hollarda, o'yinchi lentani "yeb" yoki "chaynagan" deb aytilgan, ko'pincha kassetaning o'ynash qobiliyatini buzgan.[84] Bunga ba'zida bandsalat yoki "lenta salatasi" deyiladi. 1/4 dyuymli lenta uchun ishlatiladigan bloklarga o'xshash biriktiruvchi bloklar mavjud edi va ular shikastlangan qismni olib tashlash yoki lentadagi uzilishni tiklash uchun ishlatilishi mumkin edi.

Kasseta pleyerlari va magnitafonlari

Shuningdek qarang: Loop bin nusxasi
Magnit lentani bo'sh kassetali lenta qobig'iga ("yuklash") ("yuklash") uchun ishlatiladigan Tapematic 2002 audio kassetali yuklagichlari (C-0s yoki C-Zeros nomi bilan tanilgan) C-0 larda shunchaki etakchi bor, u ikkiga bo'linib, lenta biriktirilgan rahbar, keyin yarador

Birinchi kassetali mashinalar (masalan, Flibs EL 3300, 1963 yil avgustda taqdim etilgan[19][85]) were simple mono-record and -playback units. Early machines required attaching an external dinamik mikrofon. Most units from the 1980s onwards also incorporated built-in condenser microphones, which have extended high-frequency response, but may also pick up noises from the recorder's motor.

A portable recorder format still common today is a long box, the width of a cassette, with a speaker at the top, a cassette bay in the middle, and "piano key" controls at the bottom edge. Another format is only slightly larger than the cassette, known popularly as the "Walkman" (a Sony trademark).

The markings of "piano key" controls soon converged and became a amalda standart. They are still emulated on many software control panels. These symbols are commonly a square for "stop", a vertically pointed triangle with a line under it for "eject", a right-pointing triangle for "play", double triangles for "fast-forward" and "rewind", a red dot for "record", and a vertically divided square (two rectangles side-by-side) for "pause".

Asosiy maqola: Kassetaning pastki qismi
A typical portable desktop cassette recorder from RadioShack

Stereo recorders eventually evolved into high fidelity and were known as cassette decks, after the reel-to-reel decks. Hi-Fi cassette decks, in contrast to cassette recorders and cassette players, often didn't have built-in amplification or speakers. Many formats of cassette players and recorders have evolved over the years. Initially all were top loading, usually with cassette on one side, and VU metr and recording level controls on the other side. Older models used combinations of levers and sliding buttons for control.

Nakamichi RX-505 cassette deck; this one has an auto reverse feature that rotates the cassette, hence the bump in the middle.

A major innovation was the front-loading arrangement. Kashshof 's angled cassette bay and the exposed bays of some Sansui models eventually were standardized as a front-loading door into which a cassette would be loaded. Later models would adopt electronic buttons, and replace conventional meters (which could be "pegged" when overloaded[tushuntirish kerak ]) with electronic LED yoki vakuumli lyuminestsent displeylar, with level controls typically being controlled by either rotary controls or side-by-side sliders. BIC va Marantz briefly offered models that could be run at double speeds, but Nakamichi was widely recognized as one of the first companies to create decks that rivaled reel-to-reel decks with frequency response from the full 20–20,000 Hz range, low noise, and very low vay va chayqalish.[86][87] The 3-head closed-loop dual kapstan Nakamichi 1000 (1973) is one early example. Unlike typical cassette decks that use a single head for both record and playback plus a second head for erasing, the Nakamichi 1000, like the better reel-to-reel recorders, used three separate heads to optimize these functions.

Other contenders for the highest "HiFi" quality on this medium were two companies already widely known for their excellent quality reel-to-reel tape recorders: Tandberg va Revox (consumer brand of the Swiss professional Studer company for studio equipment). Tandberg started with combi-head machines, such as the TCD 300, and continued with the TCD 3x0 series with separate playback and recording heads. All TCD-models possessed dual-capstan drives, belt-driven from a single capstan motor and two separate reel motors. Frequency range extended to 18 kHz. After a disastrous overinvestment in colour television production, Tandberg folded and revived without the HiFi-branch these came from.

Revox went one step further: after much hesitation about whether to accept cassettes as a medium capable for meeting their strict standards from reel-to-reel recorders at all, they produced their B710MK I (Dolby B) and MK II (Dolby B&C) machines. Both cassette units possessed double capstan drives, but with two independent, electronically controlled capstan motors and two separate reel motors. The head assembly moved by actuating a damped solenoid movement, eliminating all belt drives and other wearable parts. These machines rivaled the Nakamichi in frequency and dinamik diapazon. The B710MKII also achieved 20–20,000 Hz and dynamics of over 72 dB with Dolby C on chrome and slightly less dynamic range, but greater headroom with metal tapes and Dolby C.[iqtibos kerak ] Revox adjusted the frequency range on delivery with many years of use in mind: when new, the frequency curve went upwards a few dB at 15–20 kHz, aiming for flat response after 15 years of use, and headwear to match.

A last step taken by Revox produced even more-advanced cassette drives with electronic fine tuning of bias and equalization during recording. Revox also produced amplifiers, a very expensive FM tuner, and a pickup with a special parallel-arm mechanism of their own design. After releasing that product, Studer encountered financial difficulties. It had to save itself by folding its Revox-branch and all its consumer products (except their last reel-to-reel recorder, the B77).

Ba'zilar esa[JSSV? ] might say that Nakamichi violated the tape recording standards to achieve the highest dynamics possible, producing non-compatible cassettes for playback on other machines, the reasons for this are more complex than they appear on the surface.[iqtibos kerak ] Different interpretations of the cassette standard resulted in a 4 dB ambiguity at 16 kHz. Technically, both camps in this debate were still within the original cassette specification as no tolerance for frequency response is provided above 12.5 kHz and all calibration tones above 12.5 kHz are considered optional.[88][89] But also Nakamichi is not error-prone. Decreasing noise at 16 kHz also decreases the maximum signal level at 16 kHz, the HighFrequency-Dynamics stay almost constant.[90]

A third company, the Danish Bang & Olufsen improved the Dolby HX "head room extension" system for reliably reducing tape saturation effects at short wavelength (high frequencies) despite higher bias levels.[91] This advanced method is called Dolby HX Pro in full and patented. HX Pro was adopted by many other yuqori darajali ishlab chiqaruvchilar.

As they became aimed at more casual users, fewer decks had microphone inputs. Dual decks became popular and incorporated into home entertainment systems of all sizes for tape dubbing. Although the quality would suffer each time a source was copied, there are no mechanical restrictions on copying from a record, radio, or another cassette source. Even as CD recorders are becoming more popular, some incorporate cassette decks for professional applications.[iqtibos kerak ]

An assortment of radio-cassette players, aka "ghetto-blasters" or "bombokslar "

Another format that made an impact on culture in the 1980s was the radio-cassette, aka the "boom box " (a name used commonly only in English-speaking North America), which combined the portable cassette deck with a radio tuner and speakers capable of producing significant sound levels. These devices became synonymous with urban youth culture in entertainment, which led to the somewhat derisive nickname "ghetto blaster." The boom box allowed people to enjoy music on the go and share it with friends. This also led to such cultural practises as breakdancing.

Applications for car stereos varied widely. Auto manufacturers in the U.S. typically would fit a cassette slot into their standard large radio faceplates. Europe and Asia would standardize on DIN and double DIN sized faceplates. In the 1980s, a high-end installation would have a Dolby AM/FM cassette deck, and they rendered the 8 ta patron obsolete in car installations because of space, performance, and audio quality. In the 1990s and 2000s, as the cost of building CD players declined, many manufacturers offered a CD player. The CD player eventually supplanted the cassette deck as standard equipment, but some cars, especially those targeted at older drivers, were offered with the option of a cassette player, either by itself or sometimes in combination with a CD slot. Most new cars can still accommodate aftermarket cassette players, and the auxiliary jack advertised for MP3 players can be used also with portable cassette players, but 2011 was the first model year for which no manufacturer offered factory-installed cassette players.[92]

A head cleaning cassette

Although the cassettes themselves were relatively durable, the players required regular maintenance to perform properly. Head cleaning may be done with long swabs, soaked with izopropil spirt, or cassette-shaped devices that could be inserted into a tape deck to remove buildup of iron-oxide from the boshlar, tape-drive capstan, and pinch-roller. Some otherwise normal recording tapes included sections of leader that could clean the tape heads. One of the concerns of the time however was the use of abrasive cleaning tape. Some of the cleaning tapes actually felt rough to the touch and were considered damaging to the heads. Similarly shaped demagnetizers used magnets to degauss the deck, which kept sound from becoming distorted (see Cassette demagnetizer ).

Ilovalar

Ovoz

A dual cassette-based Panasonic javob berish mashinasi

The Compact Cassette originally was intended for use in diktant mashinalari. In this capacity, some later-model cassette-based dictation machines could also run the tape at half speed (15⁄16 in/s) as playback quality was not critical. The cassette soon became a popular medium for distributing prerecorded music—initially through The Philips Record Company (and subsidiary labels Mercury and Philips in the U.S.). As of 2009, one still finds cassettes used for a variety of purposes, such as jurnalistika, oral history, meeting and interview transcripts, audio-books, and so on. Police are still big buyers of cassette tapes, as some lawyers "don't trust digital technology for interviews".[93] However, they are starting to give way to Compact Discs and more "compact" digital storage media. Prerecorded cassettes were also employed as a way of providing chemotherapy information to recently diagnosed cancer patients as studies found anxiety and fear often gets in the way of the information processing.[94]

The cassette quickly found use in the commercial music industry. One artifact found on some commercially produced music cassettes was a sequence of test tones, called SDR (Super Dynamic Range, also called XDR, or eXtended Dynamic Range) soundburst tones, at the beginning and end of the tape, heard in order of low frequency to high. These were used during SDR/XDR's duplication process to gauge the quality of the tape medium. Many consumers objected to these tones since they were not part of the recorded music.[95]

Eshittirish

News reporting, documentary, and human interest broadcast operations often used portable Marantz PMD-series recorders for the recording of speech interviews. The key advantages of the Marantz portable recorders were the accommodation of professional microphones with an XLR ulagichi, normal and double tape speed recording for extended frequency response, Dolby va dbx noise reduction systems, manual or automatic gain control (AGC) level control, peak limiter, multiple tape formulation accommodation, microphone and line level input connections, unbalanced RCA stereo input and output connections, live or tape monitoring, VU o'lchagich, naushnik jack, playback pitch control, and operation on AC power or batteries optimized for long duration. Unlike less-expensive portable recorders that were limited to automatic gain control (AGC) recording schemes, the manual recording mode preserved low noise dynamics and avoided the automatic elevation of noise.

Uy studiyasi

Beginning in 1979, Tascam tanishtirdi Portastudio line of four- and eight-track cassette recorders for home-studio use.

In the simplest configuration, rather than playing a pair of stereo channels of each side of the cassette, the typical "portastudio" used a four-track tape head assembly to access four tracks on the cassette at once (with the tape playing in one direction). Each track could be recorded to, erased, or played back individually, allowing musicians to ortiqcha themselves and create simple multitrack recordings easily, which could then be mixed down to a finished stereo version on an external machine. To increase audio quality in these recorders, the tape speed sometimes was doubled to 33/4 inches per second, in comparison to the standard 17⁄8 ips; qo'shimcha ravishda, dbx, Dolby B or Dolby C noise reduction provided kengayish (compression of the signal during recording with equal and opposite expansion of the signal during playback), which yields increased dinamik diapazon by lowering the noise level and increasing the maximum signal level before distortion occurs. Multi-track cassette recorders with built-in mikser and signal routing features ranged from easy-to-use beginner units up to professional-level recording systems.[96]

Although professional musicians typically used multitrack cassette machines only as "sketchpads", Bryus Springstin "s Nebraska was recorded entirely on a four-track cassette tape.

Home dubbing

A Magnavox dual deck recorder with high-speed dubbing. Doors are open showing capstans.

Most cassettes were sold blank, and used for recording (dublyaj ) the owner's records (as backup, to play in the car, or to make mixtape compilations ), their friends' records, or music from the radio. This practice was condemned by the music industry with such alarmist slogans as "Uyga teging musiqani o'ldirmoqda ". However, many claimed that the medium was ideal for spreading new music and would increase sales, and strongly defended their right to copy at least their own records onto tape. For a limited time in the early 1980s Island Records sold chromium dioxide "One Plus One"[97] cassettes that had an album prerecorded on one side and the other was left blank for the purchaser to use, another early example being the 1980 "C · 30 C · 60 C · 90 Go " cassingle tomonidan Ta'zim voy voy where the b-side of the tape was blank, allowing the purchaser to record their own b-side. Cassettes were also a boon to people wishing to tape concerts (ruxsatsiz or authorized) for sale or trade, a practice tacitly or overtly encouraged by many bands, such as the Minnatdor o'liklar, with a more counterculture bent. Blank cassettes also were an invaluable tool to spread the music of unsigned acts, especially within lenta savdosi tarmoqlar.

Various legal cases arose surrounding the dubbing of cassettes. In the UK, in the case of CBS Songs v. Amstrad (1988), Lordlar palatasi found in favor of Amstrad that producing equipment that facilitated the dubbing of cassettes, in this case a high-speed twin cassette deck that allowed one cassette to be copied directly onto another, did not constitute copyright infringement by the manufacturer.[98] In a similar case, a shop owner who rented cassettes and sold blank tapes was not liable for copyright infringement even though it was clear that his customers likely were dubbing them at home.[99] In both cases, the courts held that manufacturers and retailers could not be held accountable for the actions of consumers.[iqtibos kerak ]

As an alternative to home dubbing, in the late 1980s, the Personics company installed booths in record stores across America that allowed customers to make personalized mixtapes from a digitally encoded back-catalogue with customised printed covers.[100]

Institutional duplication

Educational, religious, corporate, military, and broadcasting institutions benefited from messaging proliferation through accessibly priced duplicators, offered by Telex Communications, Wollensak, Sony va boshqalar. The duplicators would operate at double (or greater) tape speed. Systems were scalable, enabling the user to purchase initially one "master" unit (typically with 3 "copy" bays) and add "slave" units for expanded duplication abilities.

Data recording

A C2N Ma'lumotlar to'plami recorder for Commodore computers

The Hewlett-Packard HP 9830 was one of the first desktop computers in the early 1970s to use automatically controlled cassette tapes for storage. It could save and find files by number, using a clear leader to detect the end of tape. These would be replaced by specialized cartridges, such as the 3M DC-series. Many of the earliest microcomputers implemented the Kanzas Siti standarti for digital data storage. Ko'pchilik uy kompyuterlari of the late 1970s and early 1980s could use cassettes for data storage as a cheaper alternative to floppi, though users often had to manually stop and start a cassette recorder. Even the first version of the IBM PC of 1981 had a cassette port and a command in its ROM ASOSIY programming language to use it. Biroq, IBM cassette tape was seldom used, as by 1981 floppy drives had become commonplace in high-end machines.

Nintendoning Famicom bor edi an available cassette data recorder, used for saving programs created with the hardware's version of BASIC and saving progress in some Famicom games. It was never released outside Japan, but the North American versions of some of the compatible games can technically be used with it, since many early copies of two of the games (Excitebike va Vayronagarchilik guruhi) are actually just the Japanese versions in a different shell, and Nintendo intentionally included compatibility in later prints of those titles and in other games since they were planning on releasing the recorder in the region anyway.

The typical encoding method for computer data was simple FSK, typically at data rates of 500 to 2000 bit / s, although some games used special, faster-loading routines, up to around 4000 bit/s. A rate of 2000 bit/s equates to a capacity of around 660 kilobayt per side of a 90-minute tape.

German-made cassettes sold for computer data recording, mid 1980s

Among home computers that used primarily data cassettes for storage in the late 1970s were Commodore PET (early models of which had a cassette drive built-in), TRS-80 va Apple II, until the introduction of floppi drayvlar va qattiq disklar in the early 1980s made cassettes virtually obsolete for day-to-day use in the US. However, they remained in use on some portable systems such as the TRS-80 Model 100 liniyasi —often in microcassette form—until the early 1990s.

A streamer cassette for data storage, adapted from the audio Compact Cassette format

Floppy disk storage had become the standard data storage medium in the United States by the mid-1980s; for example, by 1983 the majority of software sold by Atari dastur almashinuvi was on floppy. Cassette remained more popular for 8-bit computers such as the Commodore 64, ZX spektri, MSX va Amstrad CPC 464 in many countries such as the United Kingdom[101][102] (where 8-bit software was mostly sold on cassette until that market disappeared altogether in the early 1990s). Reliability of cassettes for data storage is inconsistent, with many users recalling repeated attempts to load video games;[103] The Commodore ma'lumotlar to'plami used very reliable, but slow, digital encoding.[104] In some countries, including the United Kingdom, Poland, Hungary, and the Netherlands, cassette data storage was so popular that some radio stations would broadcast computer programs that listeners could record onto cassette and then load into their computer.[105] Qarang BASICODE.

The use of better modulyatsiya techniques, such as QPSK or those used in modern modemlar, combined with the improved tarmoqli kengligi va signal-shovqin nisbati of newer cassette tapes, allowed much greater capacities (up to 60 MB ) and data transfer speeds of 10 to 17 kbit/s on each cassette. They found use during the 1980s in ma'lumotlarni ro'yxatdan o'tkazuvchilar for scientific and industrial equipment.

The cassette was adapted into what is called a streamer cassette (also known as a "D/CAS " cassette), a version dedicated solely for data storage, and used chiefly for hard disk backups and other types of data. Streamer cassettes look almost exactly the same as a standard cassette, with the exception of having a notch about one quarter-inch wide and deep situated slightly off-center at the top edge of the cassette. Streamer cassettes also have a re-usable write-protect tab on only one side of the top edge of the cassette, with the other side of the top edge having either only an open rectangular hole, or no hole at all. This is due to the entire one-eighth inch width of the tape loaded inside being used by a streamer cassette drive for the writing and reading of data, hence only one side of the cassette being used. Streamer cassettes can hold anywhere from 250 kilobytes to 600 megabytes of data.[106]

Vorislar

Size comparison of Elcaset (left) with standard Compact Cassette

Elcaset qisqa muddatli audio format that was created by Sony in 1976 that is about twice the size, using larger tape and a higher recording speed. Unlike the original cassette, the Elcaset was designed for sound quality. It was never widely accepted, as the quality of standard cassette decks rapidly approached high fidelity.

Technical development of the cassette effectively ceased when digital recordable media, such as DAT va MiniDisc, were introduced in the late 1980s and early-to-mid 1990s, with Dolby S recorders marking the peak of Compact Cassette technology. Anticipating the switch from analog to digital format, major companies, such as Sony, shifted their focus to new media.[107] In 1992, Philips introduced the Raqamli ixcham kasseta (DCC), a DAT-like tape in almost the same shell as a Compact Cassette. It was aimed primarily at the consumer market. A DCC deck could play back both types of cassettes. Unlike DAT, which was accepted in professional usage because it could record without yo'qotishlarni siqish effects, DCC failed in home, mobile and professional environments, and was discontinued in 1996.[108]

A Compact Cassette and a Microcassette

The mikrokasseta largely supplanted the full-sized cassette in situations where voice-level fidelity is all that is required, such as in dictation machines and javob berish mashinalari. Microcassettes have in turn given way to digital recorders of various descriptions.[109] Since the rise of cheap CD-R disklar va flesh xotira asoslangan raqamli audio pleerlar, the phenomenon of "home taping" has effectively switched to recording to a Compact Disc or downloading from commercial or music sharing Web sites.[110]

Because of consumer demand, the cassette has remained influential on design, more than a decade after its decline as a media mainstay. As the Compact Disc grew in popularity, cassette-shaped audio adapters were developed to provide an economical and clear way to obtain CD functionality in vehicles equipped with cassette decks but no CD player. A portable CD player would have its analog line-out connected to the adapter, which in turn fed the signal to the head of the cassette deck. These adapters continue to function with MP3 pleerlar and smartphones, and generally are more reliable than the FM transmitters that must be used to adapt CD players and digital audio players to car stereo systems. Digital audio players shaped as cassettes have also become available, which can be inserted into any cassette player and communicate with the head as if they were normal cassettes.[111][112]

Shuningdek qarang

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