A special thanks to everyone who visited our booth and met Don Morris and Phil Paske our North-America Distributors from RMGI-USA. Gregory Bannier, our Sales Manager and Frédéric Ménétrier our Product Manager, were also happy to meet you and share our vision for analog tomorrow. Kerwax Studio engineer, Christophe Chavanon was also on our booth to present for the first time in USA the amazing audio gear Kerwax Replica.
Sound On Sound interviews Kerwax Studio about the amazing 2-Channel Tube Processor kerwax Replica.
A special thanks to everyone who visited our stand and spoke with Gregory Bannier, our Sales Manager and Don Morris our North-America Distributor, but also our technical representatives Phil Paske our Expert from US, Guillaume Enguehard our Quality Manager and Christophe Martinez our Technical Manager.
presenting RecordingTheMasters – June 2016, AES Paris
North-America distributor, talking about our tapes – June 2016, AES Paris
previously BASF/EMTEC Application Engineer and now expert for RecordingTheMasters tapes, presenting machine & tapes – June 2016, AES Paris
MULANN S.A. located in France, acquires PYRAL, the world leading manufacturer of magnetic tape products formerly BASF/EMTEC plant equipment. After BASF, EMTEC, RMGI and PYRAL, MULANN owns the original formulas of analog recording tapes which have been used in world class music studios to record major albums. These magnetic formulas deliver a very high sensitivity and dynamic sound quality. They also offer the capabilities to store contents for several decades, far beyond what drive and optical media offer today. MULANN Industries a subsidiary of MULANN SA is carrying the torch to continue and reinforce the production of the highest standards for audio, and invest in the audio professional sector
The SM468 (Agfa), SM900 – SM911 (BASF) established as the world class studio professional tapes, used by major studios worldwide, competing with Ampex.
Ampex responded in 1967 to the demand introducing the revolutionary MM-1000, which recorded eight tracks on one-inch tape. Scully also introduced a 12-track one-inch design that year, but it was quickly overshadowed by a 16-track version of the MM-1000, using two-inch tape. MCI followed in 1968 with 24 tracks on two-inch tape, and the two-inch 24-track became the most common format in professional recording studios throughout most of the 1970s and 1980s.
Tape recorders based on the magnetophon were manufactured around the world. The format evolved from two tracks to three and four. Most commercially available machines were limited to four tracks until 1966, when Abbey Road recording engineers Geoff Emerick and Ken Townshend began experimenting with multiple machines during the recording of Sgt. Pepper’s Lonely Hearts Club Band.
Les Paul developped multi-track recording when he was working with Bing Crosby who funded the start up of Ampex.
The first commercial recording on magnetic tape was for Mr. Beecham at the Feierabendhaus in Ludwigshafen (Germany). Then the trend was followed by the London Philharmonic at the Munich Symphony Hall. To the best of our knowledge this tape still exist at BASF and was played as late as 1998.
AEG developed the Magnetophone, and improvements in the chemical engineering of polymers allowed its partner BASF to ship the first magnetic tape in 1935– a foil of cellulose acetate coated with a lacquer of iron oxide bound with additional cellulose acetate.
Fritz Pfleumer patented magnetic recording tape using oxide bonded to a strip of paper or film.
Oberlin Smith (USA) was the first to conceptualize magnetic recording. He is remembered by electrical engineers as the inventor of magnetic recording, the technology used today for audio and video recording and for computer disc drives