He later worked with Ross Snyder in the design of the first eight-track recording deck ( built for him by Ampex for his home studio.

Ampex was finishing its prototype of the Model 200 tape recorder and Mullin used the first two models as soon as they were built.

In 1966 Ampex built their first 16-track recorder, the model AG-1000, at the request of Mirasound Studios in New York City.

Later machines built by Ampex starting in 1969 would have as many as 24 tracks on 2 inch tape.

* In 1950, Ampex introduced the first " dedicated " instrumentation recorder, Model 500, built for the U. S. Navy.

In 1982 Ampex built a factory in San Jose, California that produced the first thin film disks.

The liner notes to recent CD reissues of the album state that it was " captured live on an Ampex stereo cassette fed from a Kelsey Morris custom built mixer ... in the rain from the back of a Volkswagen truck.

He built a simple passive mixing system that directly fed the electronics of his Ampex 350 and 351 tape machines.

The back cover of the album shows a picture of the MM-1000 professional 16-track tape recorder built by Ampex which was used to record the album.

Starting in 1952, Ampex built the Mark I prototype VTR, using-wide tape.

Ampex took the same components used to make the Mark III, and then built it as another machine, this time into a sleek metal console and fully populated rack-mount cases, and this became the Mark IV.

In 1954, Paul continued to develop this technology by commissioning Ampex to build the first 8-track ( multitrack ) tape recorder, at his own expense.

He brought the idea to Ampex to implement, creating the world's first practical tape-based multitrack recording system.

Ampex and Mullin subsequently developed commercial stereo and multitrack audio recorders, based on the system invented by Ross Snyder of Ampex Corp. Les Paul had been given one of the first Ampex Model 200 tape decks by Crosby in 1948 and went on to use Ampex eight track " Sel Sync " machines for multitracking.

In 1948, Les Paul was given one of the first Ampex Model 200A reel-to-reel audio tape recording decks by Crosby and went on to use Ampex's eight track " Sel-Sync " machines for Multitrack recording.

CBS, RCA's competitor, was about to order BCE machines when Ampex introduced the superior Quadruplex system ( see below ).

The first practical professional broadcast quality videotape machines capable of replacing kinescopes were the two-inch quadruplex videotape machines introduced by Ampex on April 14, 1956 at the National Association of Broadcasters convention in Chicago.

It has been suggested that the BBC only continued to develop VERA as a bargaining tool, so it would be offered some of the first Ampex machines produced in unstated exchange for abandoning further work on a potential rival.

During the early 1950s Ampex began marketing one-and two-track machines using ¼ " tape.

In 1967 Ampex responded to demand by stepping up production of their 8-track machines with the production model MM 1000.

Some examples of metal particle tape compatible with DASH machines are 3M Scotch 275, Ampex / Quantegy 467, EMTEC 931, and Sony's own tape formulation.

It had up-to-date Ampex reel-to-reel tape machines and a combination of RCA and General Electric equipment ranging from microphones to the audio board.

Most quad machines made later in the 1960s and 1970s by Ampex could play back both low and high-band 2-inch quad tape.

RCA was able to make the TRT-1A and its later machines compatible with 2-inch quad because Ampex assisted RCA in doing so, as an expression of gratitude for RCA assisting Ampex with making their later quad machines after the VR-1000 color-capable.

The discussions were recorded on an Ampex videotape recorder, and during the debate Nixon pointed this out as one of the many American technological advances.

Over the next two weeks the album continued to develop, Tony Levin invited the musicians to The Record Plant in New York and Larry Fast also became involved in the project before moving the recording once more to the House Of Music in West Orange, New Jersey, during which time the Ampex tape the recordings were made on started to decompose.

It was where Harrison, Lennon and their wives retreated during their first LSD experience in 1965, and in May 1968 it was where many of the demo recordings for the White Album were made, on Harrison's Ampex four-track reel-to-reel tape recorder.

Starting in the late 1970s to the early 1980s, several types of video production equipment were introduced, such as time base correctors ( TBC ) and digital video effects ( DVE ) units ( one of the former being the Thomson-CSF 9100 Digital Video Processor, an internally all-digital full-frame TBC introduced in 1980, and two of the latter being the Ampex ADO, and the Nippon Electric Corporation ( NEC ) DVE ).

Development of magnetic tape recorders in the late 1940s and early 1950s is associated with Ampex ; the equally important development of magnetic tape media itself was led by Minnesota Mining and Manufacturing Company ( now known as 3M ).

By the late 1970s Ampex faced tough competition from Studer and Japanese manufacturers such as Otari and Sony ( who also purchased the MCI brand in 1982.

In the early 1950s Ampex moved to 934 Charter St. Redwood City, California.

Ampex went on to develop the first practical videotape recorders in the early 1950s to pre-record Crosby's TV shows.

Spurred on by Crosby's move into TV in the early 1950s, Mullin and Ampex developed a working monochrome videotape recorder by 1950 and a color video recorder by 1954, both created to tape Crosby's TV shows.

In the early 1950s, Ampex and several other companies such as Bing Crosby Enterprises ( BCE ) and RCA were competing to release a videotape format.

It was the team at Ampex, led by Charles Ginsburg, that made the breakthrough of using a spinning recording head and normal tape speeds to achieve a very high head-to-tape speed that could record and reproduce the high bandwidth signals of video.

Crosby immediately appointed Mullin as his chief engineer and placed an order for $ 50, 000 worth of the new recorders so that Ampex ( then a small six-man concern ) could develop a commercial production model from the prototypes.

When he received an early Ampex Model 200A, he determined that it could be modified by adding additional recording electronics and record and playback heads.

The Ampex broadcast video tape recorder facilitated time-zone broadcast delay so that networks could air programming at the same hour in various time zones.

The 6. 5mm tape could record 20 minutes per reel of high-quality analog audio sound ; Alexander M. Poniatoff then ordered his Ampex company to manufacture an improved version of the Magnetophon for use in radio production.

Because of its price, the Ampex VRX-1000 could be afforded only by the television networks and the largest individual stations.

Ampex conceived of D-2 as a more practical solution for TV broadcasters since it could be inserted into existing broadcast airchains, television studios, and post-production linear editing facilities without extensive redesign or modifications.

Up to eight Ampex TM4 tape decks could be connected and each ran at 75 inches per second, giving a throughput of 22, 500 digits per second.

When two-inch quadraplex video tape recording was first introduced by Ampex in 1956, it could not be physically cut and spliced as simply and cleanly as film negatives could be.

* Ampex developed its breakthrough Editec system in 1963 ; by recording cue tones on the tape, the editor could make frame-accurate edits.