ï~~Proceedings of the International Computer Music Conference 2011, hand, the disk provides instant access to reproduction of all of the stored information, a kind of time canvas which merely requires a displacement of the needle to navigate to a particular spot. On the other hand, the tape provides access to randomly cutting and splicing parts of it, although cueing to a specific position is cumbersome. This second interpretation is what James A. Moorer considers r ti f ti C important about random access: JIn the days of manual editing, tape-based editing was essentially random-access, since new material could be inserted at any position in the tape. In film and sound-effects editing, this is still the case. The "trim-bin" becomes the random access storage and retrieval device: every different sound (or picture) has a different hook in the trim bin (or around the room) and the editor can swiftly retrieve any piece of sound and splice it into place. [5] I i i S e i e Of course, in the contemporary hard-disk recording software both aspects of random access have been united, as the disk head moves quasi instantaneously to any po 0
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