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Presto was able to do this by having designed an aluminum (later, glass) disc that was coated with a special cellulose-based compound (featuring 51 ingredients! Presto’s ‘instant-disc’ technology was basically rendered obsolete by the development of magnetic tape recorders in the late 1940s, most notably, AMPEX (and to lesser degree, Magnecord).The specs for the better Presto systems weren’t awful: 50-8000hz frequency range, 50db signal-to-noise ratio; but this paled in comparison to the German Magnetophon technology that AMPEX built on, with a high-frequency response to 15,000hz.Presto Recording Corp was a pioneer of coated-disc ‘Instantaneous Recording.’ From 1933 through the end of WWII, Presto was the US leader in providing high-quality recording equipment to broadcasters, schools, studios, and government.There is a detailed history of the Presto Corp provided at this website, so no need to re-tread those waters.On a more basic user-level: you could always record-over a piece of magnetic tape; but cutting into a lacquer-coated disc (at /unit in today’s money) was a commitment.Looking through this catalog, the most fascinating aspect is the large range of mechanical devices and accessories recommended to insure the fidelity of the audio.Od 2003 do 2008 roku był gitarzystą formacji Velvet Revolver.Współpracował także z Michaelem Jacksonem, dzielnicy w północnym Londynie.

circuit-wise, we have the first 6J7 connected in pentode, coupled by a .1uf cap to the 2nd 6SJ7 stage, this time wired in Triode in order to more easily drive the output transformer.UDPATE: Thank-you to reader EL for sending us the schem to the Presto 40-A.Here ’tis as a download: PRESTO Type 40-A preamp schematic …And here as well: This must be a slightly later version of the 40-A, as the 2nd tube is a 6SJ7, which is a variant of the 6J7 that has the input grid connection in the base rather than on the top.…to efficiently remove the bits of cellulose material that the cutting needle carved out the the recording blanks; viscous-oil-filled dampers to regulate vertical movement of the cutting head (a mechanical audio compressor, I would imagine); …an optical microscope to examine the grooves that you just cut for quality-control purposes…fresh sharp needles to do the actual cutting work…and, if you wanted the ultimate in convenience, an ‘automatic equalizer’ to automatically boost the treble frequencies as the cutting head moved closer to the center of the disc (since discs spin at a constant rate, as the needle gets closer to the center of the disc, the actual linear speed of the needle relative to the surface medium gets slower, and as we know well in all types of analog recording, slower equals less high-end).

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