The 1981 Summer Tele-Shop Catalog from Sears was a unique attempt at marketing the catalog success of the store through the new medium of Videodisc. DiscoVision pressed only about 300 pieces and then shipped them to Atlanta, St. Louis and Chicago. It was possibly the first laserdisc packaged in a gate-fold jacket.
The video catalog was received poorly by the public as it didn't contain anywhere near the number of items available in the printed catalog. Further, players of the day required frame display to be on in order for the auto picture stop function to work, and the Magnavox VH-8000 series of players could not play the disc at all.
The audio and video transfer are what you might expect from a low budget video catalog. But since it's not designed to be a theatrical presentation anyway, what difference does it make. Portions appear to be in stereo, but nothing of any significance. There is a mastering error during at the beginning of the disc. There is simply no audio at all from the right channel. It pops up after about 150 frames. During Chapter 10, the video introduction to the program, the head of Catalog Sales at Sears is holding a video disc. It is unknown which disc it is, but it is one of the Disco-Vision industrial discs, based upon the label. Further, he is holding it very tightly to keep it from moving and reflecting the lights. Pitty it's upside down. Perfectly upside down, but still upside down.
Sears has remained fully behind LaserDisc technology. However, their involvement is limited to in-store displays, most of which are pressed by 3M (Imation). This catalog disc is the only one of its kind.
"Explains the six basic functions of electronic tubes and shows how each type of tube is used in industrial and military applications."
Public domain film from the Library of Congress Prelinger Archive, slightly cropped to remove uneven edges, with the aspect ratio corrected, and mild video noise reduction applied. The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and equalization.
In electronics, a vacuum tube, electron tube (in North America), or thermionic valve (elsewhere, especially in Britain), reduced to simply "tube" or "valve" in everyday parlance, is a device that relies on the flow of electric current through a vacuum. Vacuum tubes may be used for rectification, amplification, switching, or similar processing or creation of electrical signals. Vacuum tubes rely on thermionic emission of electrons from a hot filament or hot cathode, that then travel through a vacuum toward the anode (commonly called the plate), which is held at a positive voltage relative to the cathode. Additional electrodes interposed between the cathode and anode can alter the current, giving the tube the ability to amplify and switch.
Vacuum tubes were critical to the development of electronic technology...
In most applications, vacuum tubes have been replaced by solid-state devices such as transistors and other semiconductor devices... However, tubes still find particular uses where solid-state devices have not been developed or are not practical, or where the tube device is regarded as having superior performance over the solid-state equivalent, as can be the case with some devices used in professional audio. Tubes are still produced for such applications and to replace those used in existing equipment such as high-power radio transmitters...
Vacuum tubes with two active elements ("diodes") are used for rectification. Ones with 3 or more elements ("triodes", "tetrodes", etc.) are used for amplification, functions which rely on amplification such as oscillators, and switching...
The 19th century saw increasing research with evacuated tubes, such as the Geissler and Crookes tubes. Famous scientists who experimented with such tubes included Thomas Edison, Eugen Goldstein, Nikola Tesla, and Johann Wilhelm Hittorf among many others. With the exception of early light bulbs, such tubes were only used in scientific research or as novelties. The groundwork laid by these scientists and inventors, however, was critical to the development of subsequent vacuum tube technology.
Although thermionic emission was originally reported in 1873 by Frederick Guthrie, it was Thomas Edison's 1884 investigation that spurred future research, the phenomenon thus becoming known as the "Edison Effect." Edison patented what he found, but he did not understand the underlying physics, nor did he have an inkling of the potential value of the discovery. It wasn't until the early 20th century that the rectifying property of such a device was utilized, most notably by John Ambrose Fleming who used the diode tube to detect (demodulate) radio signals. Lee De Forest's 1906 "audion" was also developed as a radio detector, and soon led to the development of the triode tube. This was essentially the first electronic amplifier, leading to great improvements in telephony (such as the first coast-to-coast telephone line in the US) and revolutionizing the technology used in radio transmitters and receivers. The electronics revolution of the 20th century arguably began with the invention of the triode vacuum tube...
...it was Lee De Forest who in 1907 is credited with inventing the triode tube while continuing experiments to improve his original Audion tube, a crude forerunner of the triode. By placing an additional electrode in between the filament (cathode) and plate (anode), he discovered the ability of the resulting device to amplify signals of all frequencies. As the voltage applied to the so-called control grid (or simply "grid") was lowered from the cathode's voltage to somewhat more negative voltages, the amount of current flowing from the filament to the plate would be reduced. The negative electrostatic field created by the grid in the vicinity of the cathode would inhibit thermionic emission and reduce the current to the plate. Thus a few volts difference at the grid would make a large change in the plate current and could lead to a much larger voltage change at the plate, resulting in voltage and power amplification. In 1907, De Forest filed for a patent for such a three-electrode version of his original Audion tube for use as an electronic amplifier in radio communications. This eventually became known as the triode....
Three short plays by Gertrude Stein, filmed on stage with numerous special effects. Almost no plot, these resemble Sesame Street for grownups. 1. In the Garden: A girl fantasizes about being a queen. 2. Three Sisters who are not Sisters: A spoof of the Hitchcock/Christie style of whodunnit. 3. Look and Long: The dark side of Humpty-Dumpty.
The White Room is the fourth, and final to be released, studio album by Britishhouse music group The KLF, released in March 1991. Originally scheduled to be released in 1989 as the soundtrack to a film of the same name, the album's direction was changed after both the film and the original soundtrack LP were cancelled at the last moment. Most of the tracks on the original version of the album are present in the final release, though in significantly remixed form.
The White Room was supposed to be followed by a darker, harder complementary album called The Black Room, but the latter was never released due to the KLF's retirement from the music business in 1992.
The White Room was conceived as the soundtrack to a road movie, also called The White Room, about the KLF's search for the mystical White Room that would enable them to be released from their contract with Eternity. Parts of the movie were filmed in the Sierra Nevada region of Spain, using the money that the duo, under the alias The Timelords, had made with their 1988 number one hit "Doctorin' the Tardis". The soundtrack album contained pop-house versions of some of the KLF's earlier "Pure Trance" singles, as well as new songs.
The film project was fraught with difficulties and setbacks, including dwindling funds. Drummond and Cauty had released "Kylie Said to Jason" (sample (help·info)), a single from the original soundtrack, in the hopes that it could "rescue them from the jaws of bankruptcy"; it flopped commercially, however, failing to make even the UK top 100. As a consequence, The White Room film project was put on hold, and the KLF abandoned the musical direction of the soundtrack and single. Neither the film nor its soundtrack were formally released, although bootleg copies of both exist.
Meanwhile, the KLF's single "What Time Is Love?", which had originally been released in 1988 and largely ignored by the public, was generating acclaim within the underground clubs of continental Europe; according to KLF Communications, "The KLF were being feted by all the 'right' DJs". This prompted Drummond and Cauty to pursue the acid house tone of their Pure Trance series. A further Pure Trance release, "Last Train to Trancentral", followed.
In October 1990, the KLF launched a series of singles with an upbeat pop-house sound they dubbed "Stadium House". Songs from The White Roomsoundtrack were re-recorded with rap and more vocals (by guests labelled "Additional Communicators"), a sample-heavy pop-rock production, and crowd noise samples. The "Stadium House" versions of "What Time Is Love?" and "3 a.m. Eternal" were immediate hits, with "3 a.m. Eternal" becoming the KLF's second, and the only one under the name, number-one release. These "Stadium House" tracks made up a large part of The White Room when it was eventually released in March 1991, substantially reworked from the original soundtrack version. Aside from the singles, "Make It Rain", "Build a Fire", "Church of the KLF" and "The White Room" appeared in significantly more minimal, ambient and dub-oriented versions on the final album. "Go To Sleep" was reworked to become "Last Train To Trancentral".
Of the original mixes recorded for the film soundtrack, only "Kylie Said to Jason" (which was omitted from the final tracklist) and a version of "Build a Fire" saw legitimate commercial release.
120 Megabytes - Episode 99
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