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Historical Roots in Recording Technology

The mono track no longer rules; now it is only part of the input. But how did we do mono in the beginning?
Born in 1946, George Brock-Nannestad graduated in electronics and signal processing in 1971. European patent attorney, focusing on musical acoustics. 1981-86 carried out the project 'The establishment of objective criteria for correct reproduction of historical sound recordings' funded by the Danish Research Council for the Humanities. 1991-98 responsible for research and tuition in preservation and restoration of carriers for sound, moving images, and data at the Royal Danish Academy for Fine Art.
Since 1997 George provides consultation and research on patents, restoration concepts and the history of AV technology. He is a member of several NGOs, including the Acoustical Society of America, the Audio Engineering Society, and the Danish Musicological Society. He contributed regularly to the CHARM project (AHRC Research Centre for the History and Analysis of Recorded Music 2004-09) and has contributed chapters on the historical development of recording technology in “The Cambridge Companion to Recorded Music” (2009) and Ashgate’s “The Art of Record Production” (2012).
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