1. Digital dictation

Digital dictation is a method of recording and editing the spoken word in real-time for transcription and maximum intelligibility in a digital audio format. In some cases speech is recorded where sound quality is paramount and transcription unnecessary, e.g., for broadcasting a theatre play; such recording uses techniques closer to high-fidelity music recording, rather than those discussed here.
Digital dictation offers several advantages over traditional cassette tape based dictation:

The user can instantly rewind or fast forward to any point within the dictation file to review or edit.
The random access ability of digital audio allows inserting audio at any point without overwriting the following text.
Dictation produces a file which can be transferred electronically, e.g. via WAN, LAN, USB, e-mail, telephony, BlackBerry, FTP, etc.
Large dictation files can be shared with multiple typists.
Sound may be CD quality and can improve transcription accuracy and speed^[^{citation needed}^].
Digital dictation provides the ability to report on the volume or type of dictation and transcription outstanding or completed within an organization.

Dictation audio can be recorded in various audio file formats. Most digital dictation systems use a lossy form of audio compression based on modelling of the vocal tract to minimize hard disk space and optimize network utilization as files are transferred between users. (Note that WAV is not an audio encoding format but a file format and has little or no bearing on the encoding rate (kbit/s), size or audio quality of the resulting file.)
Digital dictation is different from Speech Recognition where audio is analyzed by a computer using speech algorithms in an attempt to transcribe the document. With digital dictation the process of converting digital audio to text may be done using a digital transcription software, typically controlled by a foot switch which allows the transcriber to PLAY, STOP, REWIND and BACKSPACE.
There are two types of Digital dictation software:
1) Standalone digital sound recording software - Basic software whereby the audio is recorded as a simple file. Most digital sound recording applications are designed for individuals or a very small number of users, as they do not offer a network efficient way of transferring the audio files other than email, they also do not encrypt or password protect the audio file

2) Digital dictation workflow software - Advanced software for commercial organizations where audio is still played by a typist but the audio file can be securely and efficiently transferred. The workflow element of these advanced systems also allows users to share audio files instantly, create virtual teams, outsource transcription securely, and set up confidential send options or 'ethical walls'. Digital Dictation workflow software is normally Active Directory integrated and can be used in conjunction with document, practice or case management systems. Typical businesses using workflow software are law firms, healthcare organizations, accountancies, or surveying firms.

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2. Star Wars music

The music of Star Wars consists of the scores written for all six Star Wars films by composer John Williams from 1977 to 1983 for the Original Trilogy, and 1999 to 2005 for the Prequel Trilogy. More broadly, it refers to any music that is used to depict the larger Star Wars Universe, which would include music for Star Wars video games, and other media. John Williams' scores for the double trilogy count among the most widely-known and popular contributions to modern film music.
The scores utilize an eclectic variety of musical styles, many culled from the Late Romantic idiom of Richard Strauss and his contemporaries that itself was incorporated into the Golden Age Hollywood scores of Erich Korngold and Max Steiner. While several obvious nods to Gustav Holst, William Walton and Igor Stravinsky exist in the score to Episode IV, Williams relied less and less on classical references in the latter five scores, incorporating more strains of modernist orchestral writing with each progressive score. The reasons for Williams' tapping of a familiar Romantic idiom are known to involve Lucas' desire to ground the otherwise strange and fantastic setting in well-known, audience-accessible music. Indeed, Lucas maintains much of the trilogy's success relies not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters and, importantly, music.
Star Wars is often credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s. One technique in particular is an influence: Williams's revival of a technique called "leitmotiv", which is most famously associated with the operas of Richard Wagner and, in film scores, with Steiner. A "leitmotif" is a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of the film. It is commonly used in modern film scoring, as a device to mentally anchor certain parts of a film to the soundtrack. Of chief importance for a "leitmotif" is that it must be strong enough for a listener to latch onto while being flexible enough to undergo variation and development.

Principal motifs

Composed for the original trilogy

First appearance in Episode IV

The main Star Wars theme

Star Wars (Main Theme) (all episodes). The anthem of the saga, easily its most recognizable melody, the main theme is variously associated with Luke, heroism and adventure. It is heard over the opening crawl at the beginning of all the films, and forms the basis of the end-title as well. The theme is most prominent in the first film (Episode IV) in which strong brass treat it as a fanfare of sorts for Luke. Throughout subsequent films it is relied upon less and less frequently, though this restraint lends it a greater impact. Except for the final scene of Episode III, Williams' use of the Main Theme in the prequels is limited mostly to the title crawl and short, sometimes disguised fragments. It is performed by the London Symphony Orchestra.

The "Rebel Fanfare" originally heard in A New hope

Sample (help·info)

Rebel Fanfare (all episodes). This short motif is used extensively in Episode IV and less frequently in Episode VI to represent the Rebel Alliance. It is used occasionally in Episode III, Episode V and part of the ending credits for this purpose as well. The theme itself is constructed out of brassy major block chords that progress in parallel motion through intervals of a third, resulting in an appropriate though non-diatonic heraldic flavor. (Written in minor key, it was often misinterpreted as a theme for the Empire; the radio dramatization of Star Wars often introduced or extro'd Imperial scenes with what is actually the "Rebel Fanfare.")

Force Theme or The Throne Room or Ben Kenobi's theme or Binary Sunset or Jedi Knights and the Old Republic theme or "May the Force be With You" (all episodes). Of all the leitmotifs of the series, the theme is most consistently developed and, consequently, most difficult to attach a specific meaning. This theme variously represents Obi-Wan Kenobi, the Jedi and the Force from which they draw their power, as well as more abstract ideas such as fate or destiny. In general, its appearances mark moments of significance in the films—due in part to its portentous minor mode and upward-striving melody.

"Princess Leia's Theme" originally heard in A New hope

Sample (help·info)

Princess Leia's Theme (Episodes III, IV, V and VI). A lush theme for Princess Leia, one of the central protagonists of the Original Trilogy. The theme represents the romanticized, somewhat naive idea of the princess, and hence is most often heard in Episode IV, but is used in the next two films when she is acting on her own, when she is particularly vulnerable, or when she is mentioned. It is heard prominently in Episode III after she is born. Williams composed an extended concert version of this theme that was incorporated into the end title for Episode III.

Imperial Motif (Episode IV) Not to be confused with the Imperial March, this motif represents the Empire and Darth Vader strictly in Episode IV, before the much more popular Imperial March was written. It would not be unreasonable if it represents Grand Moff Tarkin, as he appeared only in Episode IV (excluding a cameo in Episode III) and so did the theme. As Vader and the part of the Empire the Rebels faced were under Tarkin's control at the time, this theory is given some credibility. Vaguely militaristic, it is generally played by bassoons or muted trombones, and for its brevity and limited melodic scope, is not nearly as successful at conjuring dread as the Imperial March. Certain rhythmic and harmonic aspects do anticipate the March, however.

The Death Star Motif (Episodes IV, VI). An imposing four chord motif, played six times during Episode IV, that heralds either a shot of the Death Star, or is played when that place's presence is suggested. Also heard in Episode VI when Darth Vader's flagship the Super Star Destroyer Executor hits the Death Star II, through music that was adapted from the first film.

Jawa theme or The Little People (Episode IV). A jaunty, playful theme used in Episode IV for much of early Tatooine scenes. It is mostly associated with double-reed instruments.

Dies Irae (Episodes II, III, IV). Williams, following in the tradition of many classical composers, incorporated the melody of this Gregorian chant into the score to Episode IV, though only the first four notes are clearly stated. The motif often arises in connection to Luke Skywalker's destiny, evoking fear and apprehension. The motif serves a diminished function in Episode IV due to the replacement of its introductory cue, "Binary Sunset" (the film version discards Dies Irae in favor of Luke's theme and the Force theme). In addition to Luke's destiny, Dies Irae has a connection to the murders of Owen and Beru Lars. This tragic function is expanded upon in Episodes II and III. In Episode II, it is heard during the scene in which Anakin confesses to slaughtering the Sand People, and in Episode III it is heard during the scene in which Jedi are slaughtered across the galaxy.

First appearance in Episode V

The Imperial March or "Darth Vader's Theme" (Episodes I, II, III, V and VI). Sample (help·info). The theme that represents the totalitarian Galactic Empire as a whole, and Darth Vader specifically. More than other Star Wars themes, the March has attained an iconic status in the Western consciousness as a general "evil theme", and as such is used to portray power at public events, sometimes seriously, sometimes with tongue in cheek (as in sporting events). It has been used on multiple occasions to introduce a scene featuring the "evil" Montgomery Burns on the animated comedy The Simpsons. Musical features include relentless martial rhythm and dark, non-diatonic harmonic support. In the Original Trilogy, The Imperial March also represents all that is the Empire; therefore, it is nearly equivalent to a galactic anthem. Williams retrograded the theme for the prequel trilogy, subtly embedding it in Anakin's innocent theme and the evolution of the Republic (represented by the clone troopers) into the Empire. It is heard with progressive prominence through Episodes II and III, signaling critical points in Anakin's downward spiral to the Dark side. In the March's final rendition, accompanying Vader's death in Episode VI, Williams reverses the effect of the theme, by means of reduced orchestration and volume. It ends with a cadence of solos (from flute to clarinet to, ultimately, harp) as Vader expires.

"Han Solo and the Princess" theme from The Empire Strikes Back

Han Solo and the Princess or the Love theme or Han Solo's theme (Episodes V and VI). A sweeping theme for the love between Han Solo and Princess Leia. Heard in Episodes V and VI, and often used in not only scenes of romance but also scenes of sacrifice from the two characters, including the closing moments of Episode V. During its original appearance, this melody first is played by a solo French horn.

Yoda's theme from The Empire Strikes Back

Yoda's Theme (Episode I, II, III, V and VI). A gentle theme for the Jedi Master Yoda, who appears in five of the six films along with his music. Closely associated with his teachings and abilities, though can be related to Luke's retention of those lessons as well. Used more sparingly in the Prequel Trilogy, though certain moments, especially Yoda's departure from Kashyyyk, highlight the theme quite prominently. It is briefly heard in the film E.T.: The Extra-Terrestrial as E.T. encounters a trick-or-treater in a Yoda costume and tries to communicate with him, thinking he is really of Yoda's race or Yoda himself. This was most likely included due to the fact that John Williams composed the score for E.T as well, and got the chance to "play" with his own music.

Droids motif (Episode V). A short playful motif associated with C-3PO and R2-D2. Fairly prominent in several scenes on Hoth, Dagobah, and during the climactic "Hyperspace" cue at the end of the film. A version is played in a minor tune during the scene that C-3PO gets shot.

Boba Fett motif (Episode V). A simple bassoon melody based on a descending semitone phrase representing Boba Fett. It is played sparingly in Episode V in scenes strongly involving the bounty hunter. Some speculation exists of a secondary motif for Fett, occurring as he escorts frozen Han through the halls of Bespin. This theme heard in the horns appears in scenes unrelated to Fett which throws association into debate. It may represent a 'struggle' by the rebels to escape the Bespin city, which would qualify it as a secondary Bespin theme. Some have asserted material associated with Fett also turns up in Episode II as well, though whether the material in question bears anything more than coincidental similarity to his original motif is debatable.

Lando's Palace or the Cloud City march (Episodes V). A major-mode march, heard a few times in Lando's Palace during the Bespin sequences of Episode V.

First appearance in Episode VI

Jabba's Theme (Episodes I, IV, and VI). A rolling, bulbous tuba theme for the slug-like Jabba the Hutt, it is played during the opening act of Episode VI, which takes place at Jabba's Palace. It is also played during the added Jabba scene in the 1997 Special Edition of Episode IV, and in a slightly disguised form before the pod-race in Episode I. Jabba's Theme Sample

The Emperor's Theme (Episodes I, II, III and VI). The theme for Palpatine, aka Darth Sidious. More generally it portrays the dark side itself. Consists of an ominous melody built over alternating, chromatically related chords and often sung by a male choir. In Episodes I and II, it is used to represent the growing power of the mysterious Darth Sidious, and in Episode III it is played as Sidious' true identity is unmasked and as he lays the foundation for the Empire. Its melodic outline is also used ironically during the victory celebrations at the end of The Phantom Menace, sped up, in a major key and sung by children. In Episode VI, it is used to represent the Emperor, and plays whenever he is on screen. The Emperor's Theme as heard in the Emperor's Death sequence (somewhat sped up)

"Parade of the Ewoks" from Return of the Jedi Sample

The Ewok's Theme or Parade of the Ewoks (Episode VI). The Prokofiev-styled theme for the Ewoks, who live on the forest moon of Endor. It is played at the Ewok village, during the forest battle and in the End Credits of Episode VI.

Luke and Leia (Episode VI). The theme for the link between Leia and her brother Luke in Episode VI. Heard only twice in the actual film; the extended concert suite that Williams composed for it is clearly greater than the sum of its uses. In some ways a more mature theme than the outwardly romantic and gushing Leia and Han Solo & Princess themes.Luke and Leia
Victory Celebration (Episode VI). The theme signifying the victory of the Alliance and the culmination of the entire saga. Its music has various animal calls, flutes and is played mostly at the Ewok village where everybody celebrates.

Dies Irae

While the plainchant setting of Dies Irae is not the only melody drawn from or inspired by the canon of Western art music, it is the only one that serves a recurring, leitmotivic function. Like many composers before him, Williams uses Dies Irae to evoke a sense of impending doom or tribulation. The four signature notes first appear in the score to Star Wars, notably at the end of the scene in which Luke finds his aunt and uncle dead. It was originally introduced in the "Binary Sunset" scene, but Williams was asked to rewrite the cue, and in doing so removed the references to Dies Irae. Williams reprised the motive for Attack of the Clones in an eight-note (but altered) form to foreshadow the suffering Anakin Skywalker would bring to the galaxy in the scene in which he admits that he murdered the Tusken Raiders. It also appears in Revenge of the Sith during several climactic scenes.

Awards

The score of the original Star Wars film of 1977 won John Williams the most awards of his career: an Academy Award, a Golden Globe, a BAFTA Award and a Grammy Award. He also received the Saturn Award for both the Star Wars score and his score for Close Encounters of the Third Kind.
The score for The Empire Strikes Back won another BAFTA Award, was nominated for the Academy Award, and double nominated for Grammy Awards, winning one.
The score for The Return of the Jedi was nominated for the Academy Award of that year.
Both The Phantom Menace and Revenge of the Sith were nominated for a Grammy.

Certifications

The soundtracks to both Star Wars and The Phantom Menace have been certified Platinum by the Recording Industry Association of America, for shipments of at least 1 million units, with the albums for The Empire Strikes Back and Attack of the Clones being certified Gold (500,000 units).^[1] The British Phonographic Industry certified Star Wars as Silver, for shipments of 60,000 units in the United Kingdom, and The Phantom Menace as Gold, for 100,000 units.^[2]

Minor motifs

In addition to these major leitmotifs, a host of subsidiary motifs occur throughout the six films, some whose existence is tied to a single scene, others which recur infrequently, or are given to little development.

Diegetic music

Cantina Band and Cantina Band #2 (Episode IV). Played in the Cantina on Tatooine. It is written for solo trumpet, saxophone, clarinet, Fender Rhodes piano, steel drum, synthesizer and various percussion. According to the Star Wars CCG, the diegetic title for the first Cantina band piece is "Mad About Me". The liner notes for the 1997 Special Edition release of the Episode IV soundtrack describe the concept behind these works as "several creatures in a future century finding some 1930's Benny Goodman swing band music ... and how they might attempt to interpret it". This piece also appears on an all the outtakes easter eggs on the DVDs from episode I and II and on the bonus disc of the 2004 original trilogy DVD set.

Jabba's Baroque Recital (Episode VI). Mozart-esque John Williams composition played while 3PO and R2 first arrive and play Jabba the message from Luke Skywalker.

Lapti Nek (Episode VI). Lyrics written by Joseph Williams and translated into Huttese, this is played by the Max Rebo Band in Jabba the Hutt's palace (in the original cut of the movie).

Jedi Rocks (composed by Jerry Hey) (Episode VI). This was composed to replace Lapti Nek for the 1997 Special Edition of the film.

Max Rebo Band Jams (Episode VI). Heard twice in the film, once after Jabba sends the Wookie Chewbacca to jail, and again on Jabba's Sail Barge (hence its title). Recordings reportedly lost forever.

Unknown Jabba Source Music (Episode VI). Not used or heard in the films, Joseph Williams is credited for a second source cue that has been lost.

Ewok Feast and Part of the Tribe (Episode VI). Heard when Luke and company were captured by the Ewoks and brought to their treehouses.

Ewok Celebration (Episode VI). The Victory Song, whose lyrics were written by Joseph Williams, can be heard at the end of the original release of Return of the Jedi.

Victory Celebration (Episode VI). The Victory Song at the end of Return of the Jedi 1997 re-edition.

Tatooine Street Music (Episode I). Joseph Williams wrote four separate pieces of unusual, vaguely Eastern sounding source music for the streets of Mos Espa.

Augie's Municipal Band (Episode I). Music played during the peace parade at the end of the film, based on the Emperor's Theme.

Dex's Diner (Episode II)

Unknown Episode II Source Cue (Episode II). A second source cue is credited to Joseph Williams' name for Episode II, but is not heard in the film.

Arena Percussion (Episode II). Originally meant to accompany the Droid Factory sequence, Ben Burtt's attempt at composition is instead shifted to the arena, replacing the predominately unused John Williams cue "The Arena."

Similarities with other compositions

There have periodically been claims that Williams' work for the Star Wars saga is similar to (or even plagiarised from) other works by other composers. It must be considered, however, that it is common practice in film post-production to give a "temp track" of pre-existing music to the film composer, as a guide to what kind of feel the director wants for the music in a certain scene or sequence. Lucas, particularly for Episode IV, made use of this to put some of his favorite classical music as the temp track. Therefore it is only natural that certain parts of the score would sound like other pieces; this was what Lucas wanted. Some of the more notable examples are:

Star Wars main theme and King's Row by Erich Korngold. Similarities have been noticed between the Star Wars main theme and the main theme from Korngold's score to the Golden Age film, "King's Row," both sharing similar melodic structures and orchestration. The first eight notes are the same, although the last three of those eight are played more slowly in the Korngold piece. After that the two melodies go in different directions. To a lesser extent, the Star Wars Main Theme resembles many "heroic" melodies, such as the "Siegfried Horn Call" from Wagner's Ring Cycle; many conventions (brass instrumentation, use of perfect intervals) exist for composing music for male heroes and Williams clearly taps into them in the Star Wars films. Parts of the first motif can be heard in Carl Nielsen's Fifth Symphony. Curiously, the London Symphony Orchestra, who recorded the Star Wars soundtrack, had recorded the first complete Nielsen Symphony cycle under Danish conductor Ole Schmidt just the year before Star Wars. Also of interest is the Paramount Pictures 'logo theme' which shares the first (and only) six notes of this theme in a faster, sped up version.

The Tatooine music and The Rite of Spring (by Igor Stravinsky). This similarity is almost certainly intentional, as Lucas' temp track for this scene was The Rite of Spring. The opening of the second tableaux of the Rite plainly serves as the inspiration for Williams cue for the droids' arrival on the desert planet in Episode IV.

Imperial Attack, The Battle of Yavin and Mars, the Bringer of War (from The Planets, by Gustav Holst). This would seem likely to be coincidence, as the music Holst created for Mars contains so many of the musical ideas that are associated with war (harsh brass and percussion, pounding rhythms, strong thematic content) that almost any piece of war music will almost necessarily sound the same to a certain degree. The similarities here nevertheless are intentional because of George Lucas' guidance and usage of "Mars" as a temp track. The repetition of dissonant tutti chords at the conclusion of Mars closely related to Williams' own music for the climactic moments of the Death Star Battle show this influence.

The Throne Room and the Pomp and Circumstance Marches (by Edward Elgar). Again, the Elgar marches have become almost synonymous with grand ceremonies that similarities are almost guaranteed to occur when writing similar scenes. The triumphant film music of William Walton, especially the final sequence from 1955's Richard III can also be heard informing the Throne Room processional music. There is also a strong resemblance to the final movement of Antonín Dvořák's New World Symphony.

The "Imperial March" seems to draw inspiration from a similar sequence in the second movement of Gustav Mahler's Symphony No. 2. Mahler's includes the first few notes of Williams' Imperial March but continues in a quite different vein. There is also an even closer similarity with Gustav Mahler's Symphony No. 6, in the first movement. The movement begins in a march, labeled 'Allegro Energico, Ma Non Troppo Heftig, Aber Markig'. It carries on with much of the same feel as the Imperial March, with a string melody that seems vaguely familiar. Williams' piece is also strongly reminiscent of Chopin's Funeral March from the Sonata for Piano No. 2 in B-flat minor, Op. 35.

The opening of Duel of the Fates in many ways sounds remarkably similar to beginning of the third movement (Molto vivace) of Dvořák's Symphony No. 9 (From the New World). Williams also uses the opening of the fourth movement of this symphony for the theme from Jaws.

Yoda's theme is very similar to the score from the 1942 movie The Talk of the Town.

Luke and Leia's theme is often compared to the works of Claude Debussy.

Editing

The cues recorded by Williams for the Star Wars movies are not always heard in their original forms. In cases when a scene was re-edited after the recording process, the music was edited to reflect the changes. Such edits sometimes carry over into the soundtrack albums and sometimes do not.
Williams will also record the same cue several times. These different takes will then be assembled to form one "ideal" take of the cue which is then used in the film.
Improper notation or the loss of documentation however led to an array of incorrectly edited album releases, using alternate takes not meant to be officially used.
With the advent of modern technology and editing techniques, the prequels took the ability to re-construct the music to an extreme. Williams and Lucas however did decide where some tracked music would be used and would leave the scene open for the music (such as the usage in Episode III of "Escape from Naboo" from Episode I as the Invisible Hand falls from space).

Other Star Wars music

Expanded Universe scores

Incidental music has been composed in the style of John Williams for a number of films, television programmes and computer games which have been produced which depict characters and situations within the Star Wars Expanded Universe, the extended franchise licenced by Lucasfilm. These scores often borrow thematic material from the film scores as well as introducing original composition.

Star Wars Holiday Special

Original music was composed for The Star Wars Holiday Special television special (1978) by Ken and Mitzie Welch. The film also used the Star Wars main theme and the force theme, which were composed by John Williams.

Ewoks

For the films Caravan of Courage and Ewoks: The Battle for Endor, Peter Bernstein composed an original score, also using a brief reprise of John Williams' Ewok theme (from Return of the Jedi) in both films. The album was officially released as a 12" LP record by Varése Sarabande on December 8, 1986.
The LP was later bootlegged onto CD in 1999 and retitled "Star Wars: Ewoks". The bootleg has a number of discrepancies including an incorrect track arrangement, incorrect track names & incorrect track times. So called "Additional Material" on the bootleg was never officially sanctioned by Lucasfilm Ltd. and is in fact made up of three poorly engineered tracks cobbled together from tracks from the Star Wars Trilogy: The Original Soundtrack Anthology & various releases of the Return of the Jedi soundtrack.

Shadows of the Empire

For the Shadows of the Empire novel, an unusual soundtrack was scored by composer Joel McNeely after a suggestion by John Williams. It was performed by the Royal Scottish National Orchestra and Chorus, and published by Varèse Sarabande. Familiar themes from the movies can only be heard in tracks one (Main Theme from Star Wars and the carbon freeze scene from The Empire Strikes Back), eight (The Imperial March and The Force Theme) and ten (The Imperial March). The disc also includes an interactive track for personal computers, containing concept art and additional information about the project.
The liner notes of the booklet give brief plot summaries for each track of the corresponding sections from the novel. McNeely wrote, "Unlike with film music, I have been allowed to let my imagination run free with the images, characters and events from this story. I have also had the luxury to loiter as long as I like with a character or scene. Every passage represents some person, place or event in this story."

Star Wars: Dark Forces

Music for the 1995 computer game Star Wars: Dark Forces was mostly original works composed by Clint Bajakian, though they are based on cues from the original Star Wars works. The background music for the Anoat City level was loosely based on the Jawa theme from A New Hope. The music for the level that takes place aboard the Super Star Destroyer Executor borrows from both the Death Star Attack and the Imperial March. The last level, the Arc Hammer, utilizes cues from the Death Star Battle as well. Due to the length of the game itself and the Full Throttle demo included on the disk, some of the tracks had to be re-used. Two new cues were composed for this game, which are the Dark Forces Main Title and Kyle Katarn's Theme. The Main Title is supposedly the theme for General Mohc, as an online MIDI soundtrack is available which has an alternative arrangement of the main theme titled "Mohc: The Final Battle". Kyle's theme is used primarily in the cutscenes, and a nearly complete rendition is heard in the cutscene preceding the second level, After the Massacre. Three tracks were composed for the game which weren't included, and they are a battle theme for the first encounter with a Dark Trooper, a theme for Jabba's Ship (with apparently no ties to the theme used for Jabba the Hutt in Episode VI), and the final battle with the last boss in the game, General Mohc in a Dark Trooper Phase 3 exoskeleton.

Star Wars: Knights of the Old Republic

Music for Star Wars: Knights of the Old Republic was composed by Jeremy Soule. For Star Wars: Knights of the Old Republic II: The Sith Lords, Mark Griskey developed music and themes for characters and places, including the Jedi's theme, Darth Sion's theme and Darth Malak's theme (which both have many similarities with the Emperor's theme from The Return of the Jedi). He also created a theme for the main character, which is heard occasionally when he or she experiences internal conflict. The 70 minute score was recorded by the Sinfonia Orchestra in Seattle.^[3]

Star Wars: Republic Commando

In the computer game Star Wars: Republic Commando, the Vode An theme plays in the main menu and several key points throughout the game content (such as when the player's clone commandos defeats a large group of enemies). The Vode An theme, as well as several other key music pieces, has additional choral lyrics in the Mandalorian language.

Star Wars: TIE Fighter

Music for the computer game Star Wars: TIE Fighter contains many themes from the original trilogy, however, many motifs (such as the Imperial March motifs) which were originally composed as dark motifs are used as heroic motifs. This is consistent with the theme of the game, where the player plays as an Imperial TIE Fighter pilot.
The in-game music played during flight sequences (missions) uses the iMuse game engine. This uses leitmotifs to vary the music played during missions depending on the actions of the player or other mission events. For example, a special motif is played when player achieves a victory, when the mission is failed, when secondary or bonus goals or completed, when an Imperial or Rebel capital ship exits hyperspace etc. This does mirror the use of leitmotifs in the original film music while at the same time makes the music sequence a little different with each mission.

Star Wars: Bounty Hunter

Composer Jeremy Soule wrote music for the game Star Wars: Bounty Hunter, including both cut scenes and gameplay. The characters Jango Fett and Komari Vosa have their own leitmotifs.

Star Wars: The Clone Wars

Kevin Kiner composed the score to the film Star Wars: The Clone Wars which started the TV series while using some of the original themes and score by John Williams. His own material includes a theme for Anakin Skywalker's Padawan learner, Ahsoka Tano, as well as a theme for Jabba the Hutt's uncle Ziro.

Star Wars: The Force Unleashed

Mark Griskey composed the score for Star Wars: The Force Unleashed, while Jesse Harlin composed the main theme. Griskey uses references to three old themes (The Force Theme, The Imperial March, and The Rebel Fanfare) as well as new themes for Rahm Kota, PROXY, and Juno Eclipse. The music was composed with the intent of utilizing much of John Williams' original Star Wars scores to bridge the gap between the Prequel and Original trilogies.

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3.Dictation machine

From Wikipedia, the free encyclopedia

Thomas A. Edison dictating in 1907

A dictation machine is a sound recording device most commonly used to record speech for later playback or to be typed into print.
The name "Dictaphone" is a trademark of the company of the same name, but has also become a common term for all dictation machines, as a genericized trademark. Sometimes when the general term rather than the specific company is referred to, the variation "dictophone" is used.

History

Description: 180px-Dictaphone_cylinder_machine

Dictaphone was cylinder dictation machine from early 1920s.

Transcribing dictation with a Dictaphone wax cylinder dictation machine, in the early 1920s.

Shortly after Thomas Edison invented the phonograph, the first device for recording sound, in 1877, he thought that the main use for the new device would be for recording speech in business settings. (Given the low audio fidelity of earliest versions of the phonograph, recording music may not have seemed to be a major application.) Some early phonographs were indeed used this way, but this did not become common until the mass production of reusable wax cylinders in the late 1880s. The differentiation of office dictation devices from other early phonographs (which commonly had attachments for making one's own recordings) was gradual. The machine marketed by the Edison Records company was trademarked as the "Ediphone".
Electric microphones generally replaced the strictly acoustical recording methods of earlier dictaphones by the late 1930s. In 1945, the SoundScriber and Gray Audograph, which cut grooves into a plastic disc, was introduced, and two years later Dictaphone replaced wax cylinders with their DictaBelt technology, which cut a mechanical groove into a plastic belt instead of into a wax cylinder. This was later replaced by magnetic tape recording. While reel-to-reel tape was used for dictation, the inconvenience of threading tape spools led to development of more convenient formats, notably the Compact Cassette, Mini Cassette, and Microcassette.

A Sony Mini Cassette dictation recorder.

Description: 180px-Olympus_Digital_Voice_Recorder

An Olympus digital voice recorder

Digital dictation became possible in the 1990s as falling computer memory prices made possible pocket-sized digital voice recorders that stored sound on computer memory chips, without moving parts. In the 1990s, improvements in voice recognition technology began to allow computers to transcribe recorded audio dictation into text form, a task that previously required human secretaries or transcribers. As of 2009^[update] the technology is not robust enough to replace human transcription in most cases.
Despite the advances in technology, analog media are still widely used in dictation recording for their flexibility, permanence, and robustness.

Common dictation formats

Wax cylinder (1890s)
Gray Audograph (1945)
SoundScriber (1945)
DictaBelt (1947)
Compact Cassette (1963)
Mini Cassette (1967)
Microcassette (1969)
Digital dictation (1990s)

Photos of early 20th century Dictaphone & Ediphone equipment on SanDiego.edu

Retrieved from "http://en.wikipedia.org/wiki/Dictation_machine"

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