Digital Audio Tape

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Short description: Digital audio cassette format developed by Sony

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Digital Audio Tape

A 90-minute DAT cartridge, with a AAA battery (LR03) for size comparison

Media type| Magnetic cassette tape
Encoding| Lossless real-time
Capacity| Up to 120 or 180 minutes (consumer tapes on non-LP mode)
Read mechanism| Rotating head, helical scan
Write mechanism| Rotating head, helical scan
Developed by| Sony
Usage| Audio storage
Extended to| Digital Data Storage
Released| 1987; 39 years ago (1987)
Discontinued| 2005; 21 years ago (2005)[citation needed]

Digital Audio Tape (DAT or R-DAT) is a discontinued digital recording and playback medium developed by Sony and introduced in 1987.[1] In appearance it is similar to a Compact Cassette, using 3.81 mm / 0.15" (commonly referred to as 4 mm) magnetic tape enclosed in a protective shell, but is roughly half the size at 73 mm × 54 mm × 10.5 mm. The recording is digital rather than analog. DAT can record at sampling rates equal to, as well as higher and lower than a CD (44.1, 48, or 32 kHz sampling rate respectively) at 16 bits quantization. If a comparable digital source is copied without returning to the analogue domain, then the DAT will produce an exact clone, unlike other digital media such as Digital Compact Cassette or non-Hi-MD MiniDisc, both of which use a lossy data-reduction system.

Similar to most formats of videocassette, a DAT cassette may only be recorded and played in one direction, unlike an analog compact audio cassette. Many DAT recorders had the capability to embed program numbers and IDs into the recording which can be used to select an individual track like on a CD player.

Although intended as a replacement for analog audio compact cassettes, the format was never widely adopted by consumers because of its expense, as well as concerns from the music industry about unauthorized high-quality copies. The format saw moderate success in professional markets and as a computer storage medium, which was developed into the Digital Data Storage format. Sony ceased production of new recorders making it more difficult to play archived recordings in this format. Magnetic tape degradation has been noted by some engineers involved in re-mastering archival recordings on DAT, which presents a threat to audio held exclusively in this medium.

## Contents

* 1 History
* 1.1 Development
* 1.2 Predecessor formats
* 1.3 Demise
* 1.4 Digital Compact Cassette
* 2 Anti-DAT lobbying
* 3 Uses
* 3.1 Professional recording industry
* 3.2 Pre-recorded albums
* 3.3 Amateur and home use
* 3.4 Computer data storage medium
* 4 See also
* 5 References
* 6 External links
* 7 History
* 8 Studios
* 8.1 Former
* 9 Other divisions
* 9.1 ICE Team
* 9.2 XDev
* 10 References
* 11 External links

## History

### Development

DAT compared to Compact Cassette

The basic tape mechanism of DAT is closely based on video recorders, using a rotating head and helical scan to record data. This prevents DATs from being physically edited in the cut-and-splice manner of analog tapes, or open-reel digital tapes like ProDigi or DASH. In 1983, a DAT meeting was established to unify the standards for recording digital audio on magnetic tape developed by each company and in 1985, two standards were created: R-DAT (Rotating Digital Audio Tape) using a rotary head and S-DAT (Stationary Digital Audio Tape) using a fixed head. The S-DAT format had a simple mechanism similar to the Compact Cassette format but was difficult to develop a fixed recording head for high-density recording while the rotating head of the R-DAT had a proven track record in VCR formats like VHS & Betamax. As the S-DAT version was never released, R-DAT had been renamed as simply "DAT" by the time of its launch. However, Philips and Matsushita (Panasonic) would later release their own stationary head digital format in the form of the Digital Compact Cassette. Sony would later introduce another rotating head format in the form of NT which was intended to replace the Microcassette and Mini-Cassette.[citation needed]

The DAT standard allows for four sampling modes: 32 kHz at 12 bits, and 32 kHz, 44.1 kHz or 48 kHz at 16 bits. Certain recorders operate outside the specification, allowing recording at 96 kHz and 24 bits (HHS). Some early machines aimed at the consumer market did not operate at 44.1 kHz when recording so they could not be used to 'clone' a compact disc. Since each recording standard uses the same tape, the quality of the sampling has a direct relation to the duration of the recording – 32 kHz at 12 bits will allow six hours of recording onto a three-hour tape while HHS will only give 90 minutes from the same tape. Included in the signal data are subcodes to indicate the start and end of tracks or to skip a section entirely; this allows for indexing and fast seeking. Two-channel stereo recording is supported under all sampling rates and bit depths, but the R-DAT standard does support 4-channel recording at 32 kHz.[citation needed]

DATs are between 15 and 180 minutes in length, a 120-minute tape being 60 metres in length. DATs longer than 60 metres tend to be problematic in DAT recorders due to the thinner media. DAT machines running at 48 kHz and 44.1 kHz sample rates transport the tape at 8.15 mm/s. DAT machines running at 32 kHz sample rate transport the tape at 4.075 mm/s.[citation needed]

### Predecessor formats

DAT was not the first digital audio tape; pulse-code modulation (PCM) was used in Japan by Denon in 1972 for the mastering and production of analogue phonograph records, using a 2-inch Quadruplex-format videotape recorder for its transport, but this was not developed into a consumer product. Denon's development dated from its work with Japan's NHK Broadcasting; NHK developed the first high-fidelity PCM audio recorder in the late 1960s. Denon continued development of their PCM recorders that used professional video machines as the storage medium, eventually building 8-track units used for, among other productions, a series of jazz records made in New York in the late 1970s.[citation needed]

In 1976, another digital audio tape format was developed by Soundstream, using one inch (25.4 mm) wide reel-to-reel tape loaded on an instrumentation recorder manufactured by Honeywell acting as a transport, which in turn was connected to outboard digital audio encoding and decoding hardware of Soundstream's own design. Soundstream's format was improved through several prototypes and when it was developed to 50 kHz sampling rate at 16 bits, it was deemed good enough for professional classical recording by the company's first client, Telarc Records of Cleveland, Ohio. Telarc's April, 1978 recording of the Holst Suites for Band by Frederick Fennell and the Cleveland Wind Ensemble was a landmark release, and ushered in digital recording for America's classical music labels. Soundstream's system was also used by RCA.[citation needed]

Starting in 1978, 3M introduced its own line and format of digital audio tape recorders for use in a recording studio. One of the first prototypes of 3M's system was installed in the studios of Sound 80 in Minneapolis, Minnesota. This system was used in June 1978 to record Aaron Copland's "Appalachian Spring" by the St. Paul Chamber Orchestra conducted by Dennis Russell Davies. That record was the first Grammy-winning digital recording. The production version of the 3M Digital Mastering System was used in 1979 to record the first all-digital rock album, Ry Cooder's "Bop Till You Drop," made at Warner Brothers Studio in California.[citation needed]

The first consumer-oriented PCM format used consumer video tape formats (Beta and VHS) as the storage medium. These systems used the EIAJ digital format, which sampled at 44.056 kHz at 14 bits. The Sony PCM-F1 system debuted in 1981, and Sony from the start offered the option of 16-bit wordlength. Other systems were marketed by Akai, JVC, Nakamichi and others. Panasonic, via its Technics division, briefly sold a digital recorder that combined an EIAJ digital adapter with a VHS video transport, the SV-P100. These machines were marketed by consumer electronics companies to consumers, but they were very pricey compared to cassette or even reel-to-reel decks of the time. They did catch on with the more budget conscious professional recordists, and some boutique-label professional releases were recorded using these machines.[2]

Starting in the early 1980s, professional systems using a PCM adaptor were also common as mastering formats. These systems digitized an analog audio signal and then encoded the resulting digital stream into an analog video signal so that a conventional VCR could be used as a storage medium.[citation needed]

One of the most significant examples of a PCM adaptor-based system was the Sony PCM-1600 digital audio mastering system, introduced in 1978. The PCM-1600 used a U-Matic-format VCR for its transport, connected to external digital audio processing hardware. It (and its later versions such as the PCM-1610 and 1630) was widely used for the production and mastering of some of the first Digital Audio CDs in the early 1980s. Once CDs were commercially introduced in 1982, tapes recorded on the PCM-1600 were sent to the CD pressing plants to be used to make the glass master disc for CD replication.[citation needed]

Other examples include dbx, Inc.'s Model 700 system, which, similar to later Super Audio CDs, used a high sample-rate delta-sigma modulation rather than PCM; Decca's 1970s PCM system,[3] which used a videotape recorder manufactured by IVC for a transport; and Mitsubishi's X-80 digital recorder, a 6.4 mm (​1⁄4 in) open reel digital mastering format that used a very unusual sampling rate of 50.4 kHz.[citation needed]

For high-quality studio recording, all of these formats were effectively made obsolete in the early 1980s by two competing reel-to-reel formats with stationary heads: Sony's DASH format and Mitsubishi's continuation of the X-80 recorder, which was improved upon to become the ProDigi format. (In fact, one of the first ProDigi-format recorders, the Mitsubishi X-86C, was playback-compatible with tapes recorded on an X-80.) Both of these formats remained popular as an analog alternative until the early 1990s, when hard disk recorders rendered them obsolete.[citation needed]

### Demise

Sony released its last DAT product with the DAT Walkman TCD-D100 in 1995 and continued to produce it until November 2005 when Sony announced that its remaining DAT machine models would be discontinued the following month.[4] Sony had sold around 660,000 DAT products since its introduction in 1987. Sony continued to produce blank DAT tapes until 2015 when it announced it would cease production by the end of the year. Even with this, the DAT format still finds regular use in film and television recording,{{Citation needed|date=September 2010} recorders for SMPTE time code synchronisation, and sometimes by audio enthusiasts as a way of backing up vinyl, compact cassette and CD collections to a digital format to then be transferred to PC. Although it has been superseded by modern hard disk recording or memory card equipment, which offers much more flexibility and storage, Digital Data Storage tapes, which are broadly similar to DATs, apart from tape length and thickness on some variants, and are still manufactured today unlike DAT cassettes, are often used as substitutes in many situations.[citation needed]

### Digital Compact Cassette

The DAT recorder mechanism was considerably more complex and expensive than an analogue cassette deck mechanism due to the rotary helical scan head, therefore Philips and Panasonic Corporation developed a rival digital tape recorder system with a stationary head based on the analogue compact cassette known as S-DAT. The Digital Compact Cassette (DCC) was cheaper and simpler mechanically than DAT, but did not make perfect digital copies as it used a lossy compression technique called PASC. (Lossy compression was necessary to reduce the data rate to a level that the DCC head could record successfully at the linear tape speed of 4.75 cm/s that the compact cassette system uses.) DCC was never a competitor to DAT in recording studios, because DAT was already established, and studios favor lossless formats. As DCC was launched at the same time as Sony's Minidisc format (which has random access and editing features), it was not successful with consumers either. However, DCC proved that high quality digital recording could be achieved with a cheap simple mechanism using stationary heads.[citation needed]

## Anti-DAT lobbying

Aiwa HD-S1 portable DAT recorder from 1990 with DAT tape for size comparison. It is 146 mm high and 95 mm wide, the thickness is 38 mm.[5]

In the late 1980s, the Recording Industry Association of America (RIAA) unsuccessfully lobbied against the introduction of DAT devices into the U.S. Initially, the organization threatened legal action against any manufacturer attempting to sell DAT machines in the country. It later sought to impose restrictions on DAT recorders to prevent them from being used to copy LPs, CDs, and prerecorded cassettes. One of these efforts, the Digital Audio Recorder Copycode Act of 1987 (introduced by Sen. Al Gore and Rep. Waxman), initiated by CBS Records president Walter Yetnikoff, involved a technology called CopyCode and required DAT machines to include a chip to detect attempts to copy material recorded with a notch filter,[6] meaning that copyrighted prerecorded music, whether analog or digital, whether on LP, cassette, or DAT, would have distorted sound resulting from the notch filter applied by the publisher at the time of mastering for mass reproduction. A National Bureau of Standards study showed that not only were the effects plainly audible, but that it was not even effective at preventing copying.[citation needed]

This opposition by CBS softened after Sony, a DAT manufacturer, bought CBS Records in January 1988. By June 1989, an agreement was reached, and the only concession the RIAA would receive was a more practical recommendation from manufacturers to Congress that legislation be enacted to require that recorders have a Serial Copy Management System to prevent digital copying for more than a single generation.[7] This requirement was enacted as part of the Audio Home Recording Act of 1992, which also imposed taxes on DAT recorders and blank media. However, the computer industry successfully lobbied to have personal computers exempted from that act, setting the stage for massive consumer copying of copyrighted material on materials like recordable CDs and by extension, filesharing systems such as Napster.[8]

## Uses

### Professional recording industry

DAT was used professionally in the 1990s by the audio recording industry as part of an emerging all-digital production chain also including digital multi-track recorders and digital mixing consoles that was used to create a fully digital recording. In this configuration, it is possible for the audio to remain digital from the first AD converter after the mic preamp until it is in a CD player.[citation needed]

### Pre-recorded albums

DAT Recorder (Kenwood DX-7030) DAT was also used in professional environ­ments like recording studios and broadcasting institutions. The depicted device is a professional Sony PCM-7030 DAT recorder which had a recommended retail price of 8000 US dollars.[9]

In December 1987, The Guitar And Other Machines by the British post-punk band The Durutti Column, became the first commercial release on DAT. Later in May 1988, Wire released their album The Ideal Copy on the format.[10] Several other albums from multiple record labels were also released as pre-recorded DATs in the first few years of the format's existence, in small quantities as well. Factory Records released a small number of albums on the format, including New Order's best-selling compilation Substance 1987, but many planned releases were cancelled.[11]

### Amateur and home use

Sony DAT Walkman TCD-D7

DAT was envisaged by proponents as the successor format to analogue audio cassettes in the way that the compact disc was the successor to vinyl-based recordings. It sold well in Japan, where high-end consumer audio stores stocked DAT recorders and tapes into the 2010s and second-hand stores generally continued to offer a wide selection of mint condition machines. However, there and in other nations, the technology was never as commercially popular as CD or cassette. DAT recorders proved to be comparatively expensive and few commercial recordings were available. Globally, DAT remained popular, for a time, for making and trading recordings of live music (see bootleg recording), since available DAT recorders predated affordable CD recorders. In the 1990s, fans of jam bands, such as the Grateful Dead and Phish, recorded and stored high-quality audience recordings of live concerts on the format.[12]

### Computer data storage medium

The format was designed for audio use, but through the ISO Digital Data Storage standard was adopted for general data storage, storing from 1.3 to 80 GB on a 60 to 180 meter tape depending on the standard and compression. It is a sequential-access medium and is commonly used for backups. Due to the higher requirements for capacity and integrity in data backups, a computer-grade DAT was introduced, called DDS (Digital Data Storage). Although functionally similar to audio DATs, only a few DDS and DAT drives (in particular, those manufactured by Archive for SGI workstations)[13] are capable of reading the audio data from a DAT cassette. SGI DDS4 drives no longer have audio support; SGI removed the feature due to "lack of demand".[14]

## See also

* ADAT
* Digital Audio Stationary Head
* Digital Data Storage
* Digital Tape Recording System
* Digital Compact Cassette
* Magnetic storage
* Magnetic tape
* MiniDisc
* NT (cassette)
* PCM adaptor
* ProDigi

## References

1. ↑ "Sony History". http://www.sony.net/Fun/SH/1-21/h5.html.
2. ↑ "1981 Sony PCM-F1 Digital Recording Processor-Mix Inducts Sony PCMF1 Processor into 2007 TECnology Hall of Fame". http://mixonline.com/TECnology-Hall-of-Fame/1981-sony-pcmf1/.
3. ↑ G. Mancini (March 2004). "The Decca Digital Audio Recording System". http://www.mancini99.freeserve.co.uk/Decca_1.html.
4. ↑ "Sony Drops DAT". Anime News Service. 15 November 2005. http://www.animenewsservice.com/archives/nov30.htm.
5. ↑ Technical data of Aiwa HD-S1, from datrecorders.co.uk, retrieved on 27 January 2023
6. ↑ Holt, J. Gordon; Gold, Alvin (1987). "Copycode: Diminishing DAT". Stereophile. http://www.stereophile.com/asweseeit/copycode_diminishing_dat/index.html. Retrieved 12 June 2012.
7. ↑ Goldberg, Michael (21 September 1989). "Labels Back Down on DAT". Rolling Stone (561): 26.
8. ↑ Knopper, Steve (2009). Appetite for Self-Destruction. Simon and Schuster: Free Press. pp. 78–9. ISBN 978-1-4165-5215-4. https://archive.org/details/appetiteforselfd00knop_0.
9. ↑ Data on Sony PCM-7030 at datrecorders.co.uk
10. ↑ Media, Spin L. L. C. (December 1988). "Back in the Days of '88". Spin 4 (9): 71. https://books.google.com/books?id=5oyYjDeNc_AC&pg=PA71. Retrieved 29 April 2011.
11. ↑ "DAT and Copycode (Q Magazine article c.1988) – Factory Records". cerysmaticfactory.info. http://www.cerysmaticfactory.info/dat_and_copycode_q.php.
12. ↑ Lei, Richard (16 October 1994). "The Hottest Band the World Has Never Heard". The Washington Post. https://www.washingtonpost.com/archive/lifestyle/style/1994/10/16/the-hottest-band-the-world-has-never-heard/a93436d8-b450-4d95-a995-ab2ac6ecfb12/.
13. ↑ "Can you Rip DAT audio? (Ask Slashdot forum thread)". Slashdot. 1 October 1999. http://ask.slashdot.org/article.pl?sid=99/09/29/0451243.
14. ↑ "DAT/DDS hardware". 26 March 2003. http://homepage.ntlworld.com/adrian.rixon/personal/ade/dat-dds/drives.html.

## External links

* v
* t
* e

Physical audio recording formats

Mechanical|

* Music box cylinder or disc (9th century)
* Mechanical cuckoo (early 17th century)
* Punched card (1881)
* Music roll (1883)

Analog|

| Grooved surface|

* Phonautogram (1857)

|

Grooved cylinder|

* Phonograph cylinder (1877)
* Graphophone/Dictaphone cylinder (1887)
* Perfected phonograph/Ediphone (1888)
* Salon cylinder (1890s)
* Stentor cylinder (1890s)
* Le Céleste cylinder (1890s)
* Gold moulded record (1902)
* Indestructible record (1907)
* Amberol record (1908)
* Blue Amberol record (1912)
* Paradis cylinder (1913)

Grooved disc|

* Phonograph record (1889)
* Pathé disc (1905)
* Diamond disc (1912)
* Pathé Actuelle (1920)
* Edison Voicewriter (late 1940s)
* SoundScriber (1945)
* Audograph (1945)
* Long play (1948)
* Highway Hi-Fi (1956)

Grooved tape|

* Tefiphon (early 1930s)
* Teficord (early 1930s)
* Tefifon (1936)
* Dictabelt (1947)

Sound-on-film|

* Phonofilm (1919)
* Tri-Ergon (1922)
* Movietone (1926)
* Photophone (1929)
* Fantasound (1940)

Loose magnetic wire|

* Wire recording (1898)

Magnetic wire cartridge|

* Lorenz Textophon (1942)
* US Army RD-11B/GNQ-1 (1944)
* Cosmos Industries MX-303A/ANQ-1 (1944)
* RCA MI-12875 (1947)
* RCA MI-12877 (1947)
* Peirce 265B (1951)
* Peirce 330/360 (1951)
* Protona Minifon P51 (1951)
* Protona Minifon P55 (1955)
* Protona Minifon special (1961)
* Crouzet-Jaeger cartridge (1962)

Magnetic surface|

* Magnetic stripe card (1900)

Magnetic disc|

* Telefunken magnetic disc (1945)
* Thermionic Products Recordon (1948)
* Record Maker Pye (1953)
* Synchrofax (1959)
* Audio High Density (1978)

Loose magnetic tape|

* Blattnerphone (1928)
* Magnetophon (1935)
* 1/4" tape (1949)
* 1/2" tape (1953)
* Fullcoat magfilm (1953)
* Stripe magfilm (1953)
* 1" tape (1957)
* 2" tape (1967)
* 3/4" tape (1969)
* 3" tape (1978)

Magnetic tape cartridge|

* Optaphon (1951)
* Cousino Echo-matic (1952)
* Mohawk Message repeater cartridge (1953)
* Stenorette (1954)
* Mohawk Midgetape RL (1955)
* Dictaphone Dictet (1957)
* Rediffusion Reditune (1957)
* Saba Sabafon (1958)
* RCA tape cartridge (1958)
* Philips EL 3581 (1958)
* Protona Attaché (1959)
* Fidelipac (1959)
* Cousino MR-9000 (1960)
* IBM Magnabelt (1961)
* Dictaphone Travel master (1961)
* Nippon Electronic Vity cassette (1961)
* Grundig Cassette LFH 0084 (1962)
* Orrtronic Tapette (1962)
* 3M Scotch (1962)
* Cousino Echo-matic II (1962)
* Stereo-Pak (1962)
* Philips EL 3583 (1963)
* Compact cassette (1963)
* Grundig En3 (1964)
* Sabamobil (1964)
* 8-track (1964)
* Micro pack 35 (1964)
* Assmann-Stuzzi Memocord (1965)
* Cantata 700 (1965)
* DC-International (1965)
* Nippon Electronic Memo-call (1965)
* PlayTape (1966)
* Muntz Stereo Mini-twin (1967)
* Grundig DeJ614 (1968)
* Microcassette (1969)
* Sanyo Tape cartridge (1969)
* HiPac (1971)
* Steno-Cassette (1971)
* Stenorette DL (1972)
* Capitol Records Audiopak (1972)
* Elcaset (1976)
* Bandai micro cartridge (late 1980s)
* Picocassette (1985)
* Pocket Rockers (1988)

Standalone adaptor|

* Soundstream (1976)
* X80/ProDigi (1980)
* DASH (1982)
* PCM adaptor (1982)
* DA-88/DTRS (1993)

Digital|

| Magnetic tape cartridge|

* Digital Audio Tape (1987)
* NT (1992)
* Digital Compact Cassette (1992)

|

Sound-on-film|

* CDS (1990)
* Dolby Digital (1992)
* DTS (1993)
* SDDS (1993)

Optical disc|

* Compact disc (1982)
* Philips CD-BGM (1989)
* MiniDisc (1992)
* HDCD (1995)
* Super Audio CD (1999)
* DVD-Audio (2000)
* DataPlay (2002)
* Hi-MD (2004)
* DualDisc (2004)
* BD-Audio (2008)
* HFPA (2013)
* MQA-CD (2014)

Electronic circuit|

* Sound chip (late 1970s)
* MP3 player (1996)
* HitClips (1999)
* Yaboom Box (1999)
* Takara E-kara (2001)
* Toymax VJ Starz (2002)
* USB flash drive (2004)
* MicroSD (2007)

Hybrid|

* Mini-cassette (1967)
* U-matic (1971)
* Pioneer Artists Compact LaserDisc (1986)
* CD Video (1987)
* ADAT (1991)
* Timecode vinyl (2001)
* VinylDisc (2007)

* v
* t
* e

Music technology

Music technology|

* Mechanical
* Electrical
* Electronic and digital

Sound recording|

* Audio channel
* Mixing console
* Binaural recording
* Digital audio workstation (DAW)
* Effects unit
* Equalizer
* Headphones
* Microphone
* Microphone preamplifier
* Monitor speaker
* Multitrack recording
* Music production
* Music sequencer
* Outboard gear

Recording media|

* Phonograph record
* Magnetic tape
* Compact cassette
* Compact disc
* DAT
* Hard disk
* MiniDisc
* MP3
* Opus

Analog recording|

* 8-track cartridge
* Amplifier
* Cassette deck
* Comparison of analog and digital recording
* Experimental musical instrument
* Phonograph
* Player piano
* Reel-to-reel audio tape recording
* Tape recorder

Playback transducers|

* Loudspeaker
* Headphones
* Monitor speaker
* PA system
* Sound reinforcement system
* Speaker enclosure
* Subwoofer

Digital audio|

* Digital recording
* Digital signal processing

Live music|

* Mixing console
* Bass amplifier
* Effects unit
* Foldback
* Guitar amplifier
* Keyboard amplifier
* PA system
* Radio
* Reverberation
* Sound reinforcement system

Electronic music|

* Chiptune
* Circuit bending
* Drum machine
* Electronic drums
* Electronic musical instrument
* MIDI
* MIDI controller
* Music workstation
* Sampler
* Sequencer
* Sound module
* Synthesizer
* Theremin

Software|

* Digital audio editor
* Digital audio workstation
* GarageBand
* ProTools
* Scorewriter
* Software effect processor
* Software sampler
* Software synthesizer

Professions|

* Audio engineer
* DJ
* Guitar technician
* Mixing engineer
* Monitor engineer
* Piano tuner
* Record producer
* Re-recording mixer
* Sound designer
* Sound follower
* Sound operator
* Sound recording engineer
* Tape op

People and organizations|

* Audio Engineering Society
* Goji Electronics
* Institute of Broadcast Sound
* Lejaren Hiller
* IRCAM
* Max Mathews
* Musical Electronics Library
* Professional Lighting and Sound Association
* Robert Moog
* SMPTE
* STEIM

Related topics|

* Audiophile
* High fidelity
* Home audio
* Home cinema
* Music store
* Professional audio store
* New Interfaces for Musical Expression (NIME)
* Vehicle audio

* v
* t
* e

Sony

Founders|

* Masaru Ibuka
* Akio Morita

Key personnel|

* Shuzo Sumi (Chairman of the Board)
* Kazuo Matsunaga (Vice Chairman of the Board)
* Kenichiro Yoshida (President and CEO)

Primary businesses|

* Sony Entertainment
* Sony Music Group
* Sony Pictures
* Sony Pictures Japan
* Sony Pictures India
* Sony Financial Holdings
* Sony Life
* Sony Bank
* Sony Interactive Entertainment
* PlayStation
* Sony Mobile
* Sony Music Japan

Technologies
and brands|

* α (Alpha)
* Betacam
* Bionz
* Blu-ray
* BRAVIA
* CD
* Cell
* Cyber-shot
* Dash
* Dream Machine
* DVD
* Exmor
* FeliCa
* Handycam
* HDCAM/HDCAM-SR
* LocationFree
* Memory Stick
* MiniDisc
* MiniDV
* mylo
* PlayStation
* Reader
* S/PDIF
* SDDS
* 8 channel films
* SXRD
* Sony Tablet
* Tunnel diode
* TransferJet
* UMD
* Vaio
* Video8/Hi8/Digital8
* Walkman
* Walkman Phones
* XDCAM
* Xperia
* HMZ-T1

Historical products|

* AIBO
* CV-2000
* DAT
* Betamax
* Sony CLIÉ
* Discman
* Jumbotron
* Lissa
* Mavica
* NEWS
* Sony Optiarc
* Qualia
* Rolly
* TR-55
* Trinitron
* 1 inch Type C (BVH series)
* U-matic
* Watchman
* WEGA

Electronics|

* Sony Electronics (US subsidiary)
* Sony Energy Devices
* Sony Creative Software
* FeliCa Networks (57%)

* v
* t
* e

Sony Interactive Entertainment

Key personnel|

* Kaz Hirai
* Andrew House
* Ken Kutaragi
* Shawn Layden
* Shuhei Yoshida

Short description: Group of video game developers owned by Sony Interactive Entertainment

SIE Worldwide Studios| Formerly| SCE Worldwide Studios (2005–2016)

|

Type| Division
Industry| Video games
Founded| September 14, 2005; 20 years ago (2005-09-14)

Key people

| Hermen Hulst (president)

Number of employees

| 2,700+[1] (2011)
Parent| Sony Interactive Entertainment
Subsidiaries| See § Studios
Website| playstation.com/en-us/corporate/playstation-studios/

Sony Interactive Entertainment Worldwide Studios (SIE Worldwide Studios) is a group of video game developers founded in September 2005 by Sony Interactive Entertainment.[2]

It is a single internal entity overseeing all wholly owned development studios within SIE. It is responsible for the creative and strategic direction of development and production of all computer entertainment software by all SIE–owned studios, all of which is typically produced exclusively for the PlayStation family of consoles.

With the launch of the PlayStation 5 in 2020, Worldwide Studios brands all releases be it internal or externally developed under the "PlayStation Studios" label.[3]

## History

SCE Worldwide Studios (SCE Worldwide Studios) was established on September 14, 2005, with Phil Harrison being appointed as president.[4] On May 16, 2008, Shuhei Yoshida became president.[5] In April 2016, Sony's Sony Computer Entertainment (SCE) and Sony Network Entertainment International (SNEI) divisions merged, creating SIE Worldwide Studios.[5] Hermen Hulst succeeded Shuhei Yoshida as president of SIE Worldwide Studios on November 7, 2019, with Yoshida being delegated to lead Sony's indie development.[6]

## Studios

Name  | Location  | Founded  | Acquired

|
|
|

Bend Studio | Bend, Oregon  | 1993[7] | 2000[7]
Guerrilla Games | Amsterdam | 2000[7] | 2005[7]
Housemarque | Helsinki | 2021[8]
Insomniac Games | Burbank, California  | 1994[7] | 2019[9]
London Studio | London | 2002[7] | —
Malaysia Studio  | Kuala Lumpur | 2020[10] | —
Media Molecule | Guildford  | 2006[7] | 2010[7]
Naughty Dog | Santa Monica, California  | 1984[7] | 2001[7]
Nixxes Software | Utrecht  | 1999[11] | 2021[12]
Pixelopus | San Mateo, California  | 2014[7] | —
Polyphony Digital | Tokyo | 1998[7] | —
San Diego Studio | San Diego  | 2001[7] | —
San Mateo Studio  | San Mateo, California  | 1998[13] | —
Santa Monica Studio | Los Angeles | 1999[7] | —
Sucker Punch Productions | Bellevue, Washington  | 1997[7] | 2011[7]
Team Asobi | Tokyo | 2021[14][lower-alpha 1] | —
XDev  | Liverpool  | 2000[7] | —

1. ↑ Team Asobi was first established in 2012 as an internal team of Japan Studio, and was spun off as its own independent studio in 2021.

### Former

Name  | Location  | Founded  | Acquired  | Divested  | Fate

|
|
|
|
|

Bigbig Studios | Leamington Spa  | 2001[15] | 2007[16] | 2012[15] | Closed[15]
Evolution Studios | Runcorn  | 1999[16] | 2007[16] | 2016[17] | Closed[17]
Guerrilla Cambridge | Cambridge  | 1997[18] | —  | 2017[18] | Closed[18]
Incognito Entertainment | Salt Lake City  | 1999[19] | 2002[19] | 2009[20] | Closed[20]
Japan Studio | Tokyo | 1993[7] | —  | 2021[21] | Reorganized within SIE, primarily to Team Asobi[14]
Manchester Studio  | Manchester  | 2015[7] | —  | 2020[22] | Closed[22]
Studio Liverpool | Liverpool  | 1984[16] | 1993[16] | 2012[23] | Closed[23]
Zipper Interactive | Redmond, Washington  | 1995[24] | 2006[16] | 2012[24] | Closed[24]

## Other divisions

### ICE Team

Naughty Dog is home to the ICE Team, one of Sony's Worldwide Studios central technology groups. The term ICE originally stands for Initiative for a Common Engine which describes the original purpose of the group.[25] The ICE Team focuses on creating core graphics technologies for Sony's worldwide first party published titles, including low-level game engine components, graphics processing pipelines, supporting tools, and graphics profiling and debugging tools. The ICE Team also supports third party developers with a suite of engine components, and a graphics analysis, profiling, and debugging tool for the RSX. Both enable developers to get better performance out of PlayStation hardware.[26][27]

### XDev

XDev Europe, established in 2000 and based in Liverpool, England,[7] collaborates with independent development studios across Europe and other PAL territories to publish content to PlayStation platforms all over the world. XDev has helped to create and publish, titles such as the LittleBigPlanet, Buzz!, MotorStorm and Invizimals series, Super Stardust HD, Heavenly Sword, Heavy Rain, Beyond, Tearaway and Resogun. Partners include independent developers such as Quantic Dream, Magenta Software, Climax Studios, Novarama, Supermassive Games and Sumo Digital, as well as SCE subsidiaries such as Media Molecule and Guerrilla Games. In addition to funding projects, XDev offer full production, project management and game design support. Titles are also supported with community management, online production and dedicated outsourcing management facilities. XDev work directly with Marketing and PR teams in all Sony territories to promote and publish games worldwide.[28][29]

## References

1. ↑ "Sony Computer Entertainment Acquires Sucker Punch Productions, Developer of Top Selling Infamous Franchise". August 2, 2011. https://www.sie.com/en/corporate/release/2011/110802.html.
2. ↑ "SCE Establishes SCE Worldwide Studios" (PDF) (Press release). Sony Computer Entertainment. September 14, 2005. Archived from the original (PDF) on November 5, 2005. Retrieved September 14, 2005.
3. ↑ Dring, Christopher (May 12, 2020). "PlayStation Studios brand will launch alongside PS5". https://www.gamesindustry.biz/articles/2020-05-12-sony-unveils-playstation-studios-brand-to-launch-alongside-ps5.
4. ↑ "SCE Establishes SCE Worldwide Studios" (PDF) (Press release). Sony Computer Entertainment. September 14, 2005. Retrieved 2005-09-14.
5. ↑ 5.0 5.1 "Bitsummit". http://bitsummit.org/2015/?page_id=3388.
6. ↑ "Sony appoints Guerrilla Games' Hermen Hulst new head of PlayStation worldwide studios". https://www.washingtonpost.com/video-games/2019/11/07/sony-appoints-guerrilla-games-hermen-hulst-new-head-playstation-worldwide-studios/.
7. ↑ 7.00 7.01 7.02 7.03 7.04 7.05 7.06 7.07 7.08 7.09 7.10 7.11 7.12 7.13 7.14 7.15 7.16 7.17 7.18 7.19 Barker, Sammy (August 28, 2019). "Guide: All Sony First-Party Studios and What They're Working On". http://www.pushsquare.com/news/2019/08/guide_all_sony_first-party_studios_and_what_theyre_working_on.
8. ↑ Leedham, Robert (June 29, 2021). "Why PlayStation bought Returnal developer Housemarque: the inside story". https://www.gq-magazine.co.uk/culture/article/housemarque-sony-playstation-acquisition.
9. ↑ "Quarterly Securities Report For the three months ended December 31, 2019". p. 39. https://www.sony.net/SonyInfo/IR/library/Sony_Quarterly_Securities_Report_2019Q3.pdf.
10. ↑ "PlayStation to open development studio in Malaysia". November 8, 2019. https://www.gamesindustry.biz/articles/2019-11-08-playstation-to-open-malaysian-development-studio.
11. ↑ "About us". July 1, 2021. https://www.nixxes.com/about-us/. Retrieved July 1, 2021.
12. ↑ Makuch, Eddie (July 1, 2021). "Sony Buys Another Game Studio, Avengers And Rise Of The Tomb Raider's Nixxes Software". GameSpot. https://www.gamespot.com/articles/sony-buys-another-game-studio-avengers-and-rise-of-the-tomb-raiders-nixxes-software/1100-6493477/. Retrieved July 1, 2021.
13. ↑ Varela, Ramón (January 16, 2020). "PlayStation: Todos sus estudios y los juegos en desarrollo" (in es). https://vandal.elespanol.com/reportaje/playstation-todos-sus-estudios-y-los-juegos-en-desarrollo.
14. ↑ 14.0 14.1 LeBlanc, Wesley (June 2, 2021). "Team Asobi Officially Announced as a PlayStation Studio, Reveals New Logo". https://www.ign.com/articles/team-asobi-official-playstation-studios-dev-new-logo.
15. ↑ 15.0 15.1 15.2 Yoon, Andrew (January 10, 2012). "Sony shuts down Little Deviants, Pursuit Force dev". https://www.shacknews.com/article/71918/sony-shuts-down-little-deviants-pursuit-force-dev.
16. ↑ 16.0 16.1 16.2 16.3 16.4 16.5 MCV Staff (August 2, 2011). "IN DETAIL: Sony's sixteen first-party studios". https://www.mcvuk.com/in-detail-sonys-sixteen-first-party-studios/.
17. ↑ 17.0 17.1 Brightman, James (March 22, 2016). "Sony confirms closure of Evolution Studios". https://www.gamesindustry.biz/articles/2016-03-22-sony-confirms-closure-of-evolution-studio.
18. ↑ 18.0 18.1 18.2 Frank, Allegra (January 12, 2017). "Sony shuts down 20-year-old studio in European restructuring". https://www.polygon.com/2017/1/12/14251842/guerrilla-cambridge-closed.
19. ↑ 19.0 19.1 Cifaldi, Frank (May 13, 2011). "How Moving To Austin Energized Starhawk". https://gamasutra.com/view/feature/134746/how_moving_to_austin_energized_.php.
20. ↑ 20.0 20.1 Plunkett, Luke (January 16, 2012). "Every Game Studio That's Closed Down Since 2006". https://kotaku.com/every-game-studio-thats-closed-down-since-2006-5876693.
21. ↑ Robinson, Andy; Calvin, Alex (February 25, 2021). "Sources: PlayStation is winding down Sony Japan Studio". Video Games Chronicle. https://www.videogameschronicle.com/news/sources-playstation-is-winding-down-sony-japan-studio/. Retrieved June 30, 2021.
22. ↑ 22.0 22.1 Dring, Christopher (February 4, 2020). "PlayStation to close Manchester VR studio". https://www.gamesindustry.biz/articles/2020-02-04-playstation-to-close-manchester-vr-studio.
23. ↑ 23.0 23.1 Yin-Poole, Wesley (July 21, 2015). "WipEout: The rise and fall of Sony Studio Liverpool". https://www.eurogamer.net/articles/2013-03-22-wipeout-the-rise-and-fall-of-sony-studio-liverpool.
24. ↑ 24.0 24.1 24.2 Moriarty, Colin (March 31, 2012). "Confirmed: Sony Closes Zipper Interactive". https://www.ign.com/articles/2012/03/30/confirmed-sony-closes-zipper-interactive.
25. ↑ Mark Cerny's "Road to the PS4" @ Gamelab 2013 . YouTube (June 27, 2013). Retrieved on July 16, 2013.
26. ↑ Naughty Dog Careers . Naughtydog.com. Retrieved on July 16, 2013.
27. ↑ Sony’s Secret Super Development Team . PS3 Attitude (June 5, 2009). Retrieved on July 16, 2013.
28. ↑ Sony XDev Europe . Official Site
29. ↑ Worldwide Studios/XDev . XDev on Worldwidestudios.net

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