SHARK CD RACK Holds 12 CDs jewel case storage organizer holder WWII shark face

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Location: Santa Ana, California
Ships to: US,
Item: 192891581579

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Pattern:Solid
Required Tools:No Tools Required
Material:Plastic/Rubber,PVC
Item Length:15.75 in
Suitable For:CDs
Unbranded:Unbranded
Mounting:Free Standing
CD/DVD Capacity:Less Than 50
Type:Rack/Tower
Number of Shelves:N/A
Assembly Required:Yes
Item Height:10.375 in
Shark:Shark
Style:Pop Art
Theme:Animals,Fun & Curiosity,Humorous,Nautical
Original/Reproduction:Original
Country/Region of Manufacture:China
Room:Bedroom,Den,Dining Room,Entryway,Garage,Home Office/Study,Kitchen,Living Room,Sunroom
Item Width:3.75 in

Check out our other new & used items>>>>>HERE! (click me) FOR SALE:A unique, animal-themed, media holder for jewel casesSHARK MEDIA STORAGE RACK (YOUR CHOICE OF GOLDEN YELLOW, PINK, OR LIGHT GREEN) DETAILS:Please let us know which color you would like when orderingWe currently have: 3 yellow, 4 pink, 2 light green Store your favorite media on this quirky, shark-shaped storage rack!This all-plastic media rack holds 12 CD, CD-ROM/PC game, Playstation 1, Dreamcast, CD-R, CD-RW, etc. cases along the length of the shark’s back (the “14CD” on the label can be misleading). Upgrade your CD storage game with this unique Shark Shaped CD Case Rack. Showcase your love for both sharks and vintage fighter planes while keeping your media collection organized and protected. Its compact size makes it ideal for desks, shelves, or entertainment centers, allowing you to save space without compromising style. Whether you’re a collector, gamer, or simply looking to add a touch of personality to your room, this CD rack is perfect for you! Don’t miss out on this opportunity to own a truly unique piece that will undoubtedly spark conversations and admiration. Holds up to 12 jewel cases, keeping your CDs and games neatly organized and easily accessible. Choose from various vibrant colors, allowing you to customize the rack to match your unique style and room decor. The shark design is reminiscent of a World War II fighter plane, featuring a fierce shark face front for an extra touch of personality. Made from durable materials, ensuring long-lasting use and protection for your media. Ships flat, and the assembly is simple, allowing you to enjoy your new CD rack in no time. Holds more than media!Its intended purpose is to hold media cases but this lovable shark can be used for more. Use it in the office or home for organizing mail. Its possible to store small, thin books on this rack as well. Think of the possibilities! Drying rack of some sort? If you love sharks you’ll find a use! Dimensions:Assembled: approximately 15 3/4″ (L) x 10 3/8″ (H) x 3 3/4″ (W) CONDITION:New in package. Please see photos. THANK YOU FOR LOOKING. QUESTIONS? JUST ASK.*ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* “Sharks are a group of elasmobranch fish characterized by a cartilaginous skeleton, five to seven gill slits on the sides of the head, and pectoral fins that are not fused to the head. Modern sharks are classified within the clade Selachimorpha (or Selachii) and are the sister group to the rays. However, the term “shark” has also been used for extinct members of the subclass Elasmobranchii outside the Selachimorpha, such as Cladoselache and Xenacanthus, as well as other Chondrichthyes such as the holocephalid eugenedontidans. Under this broader definition, the earliest known sharks date back to more than 420 million years ago.[2] Acanthodians are often referred to as “spiny sharks”; though they are not part of Chondrichthyes proper, they are a paraphyletic assemblage leading to cartilaginous fish as a whole. Since then, sharks have diversified into over 500 species. They range in size from the small dwarf lanternshark (Etmopterus perryi), a deep sea species of only 17 centimetres (6.7 in) in length, to the whale shark (Rhincodon typus), the largest fish in the world, which reaches approximately 12 metres (40 ft) in length.[3] Sharks are found in all seas and are common to depths of 2,000 metres (6,600 ft). They generally do not live in freshwater although there are a few known exceptions, such as the bull shark and the river shark, which can be found in both seawater and freshwater.[4] Sharks have a covering of dermal denticles that protects their skin from damage and parasites in addition to improving their fluid dynamics. They have numerous sets of replaceable teeth.[5] Well-known species such as the great white shark, tiger shark, blue shark, mako shark, thresher shark, and hammerhead shark are apex predators—organisms at the top of their underwater food chain. Many shark populations are threatened by human activities…. Until the 16th century,[6] sharks were known to mariners as “sea dogs”.[7] This is still evidential in several species termed “dogfish,” or the porbeagle. The etymology of the word “shark” is uncertain, the most likely etymology states that the original sense of the word was that of “predator, one who preys on others” from the Dutch schurk, meaning “villain, scoundrel” (cf. card shark, loan shark, etc.), which was later applied to the fish due to its predatory behaviour.[8] A now disproven theory is that it derives from the Yucatec Maya word xok (pronounced ‘shok’), meaning “fish”.[9] Evidence for this etymology came from the Oxford English Dictionary, which notes shark first came into use after Sir John Hawkins’ sailors exhibited one in London in 1569 and posted “sharke” to refer to the large sharks of the Caribbean Sea. However, the Middle English Dictionary records an isolated occurrence of the word shark (referring to a sea fish) in a letter written by Thomas Beckington in 1442, which rules out a New World etymology…. Evidence for the existence of sharks dates from the Ordovician period, 450–420 million years ago, before land vertebrates existed and before a variety of plants had colonized the continents.[2] Only scales have been recovered from the first sharks and not all paleontologists agree that these are from true sharks, suspecting that these scales are actually those of thelodont agnathans.[11] The oldest generally accepted shark scales are from about 420 million years ago, in the Silurian period.[11] The first sharks looked very different from modern sharks.[12] At this time the most common shark tooth is the cladodont, a style of thin tooth with three tines like a trident, apparently to help catch fish. The majority of modern sharks can be traced back to around 100 million years ago.[13] Most fossils are of teeth, often in large numbers. Partial skeletons and even complete fossilized remains have been discovered. Estimates suggest that sharks grow tens of thousands of teeth over a lifetime, which explains the abundant fossils. The teeth consist of easily fossilized calcium phosphate, an apatite. When a shark dies, the decomposing skeleton breaks up, scattering the apatite prisms. Preservation requires rapid burial in bottom sediments. Among the most ancient and primitive sharks is Cladoselache, from about 370 million years ago,[12] which has been found within Paleozoic strata in Ohio, Kentucky, and Tennessee. At that point in Earth’s history these rocks made up the soft bottom sediments of a large, shallow ocean, which stretched across much of North America. Cladoselache was only about 1 metre (3.3 ft) long with stiff triangular fins and slender jaws.[12] Its teeth had several pointed cusps, which wore down from use. From the small number of teeth found together, it is most likely that Cladoselache did not replace its teeth as regularly as modern sharks. Its caudal fins had a similar shape to the great white sharks and the pelagic shortfin and longfin makos. The presence of whole fish arranged tail-first in their stomachs suggest that they were fast swimmers with great agility. Most fossil sharks from about 300 to 150 million years ago can be assigned to one of two groups. The Xenacanthida was almost exclusive to freshwater environments.[14][15] By the time this group became extinct about 220 million years ago, they had spread worldwide. The other group, the hybodonts, appeared about 320 million years ago and lived mostly in the oceans, but also in freshwater.[citation needed] The results of a 2014 study of the gill structure of an unusually well preserved 325-million-year-old fossil suggested that sharks are not “living fossils”, but rather have evolved more extensively than previously thought over the hundreds of millions of years they have been around.[16] Modern sharks began to appear about 100 million years ago.[13] Fossil mackerel shark teeth date to the Early Cretaceous. One of the most recently evolved families is the hammerhead shark (family Sphyrnidae), which emerged in the Eocene.[17] The oldest white shark teeth date from 60 to 66 million years ago, around the time of the extinction of the dinosaurs. In early white shark evolution there are at least two lineages: one lineage is of white sharks with coarsely serrated teeth and it probably gave rise to the modern great white shark, and another lineage is of white sharks with finely serrated teeth. These sharks attained gigantic proportions and include the extinct megatoothed shark, C. megalodon. Like most extinct sharks, C. megalodon is also primarily known from its fossil teeth and vertebrae. This giant shark reached a total length (TL) of more than 16 metres (52 ft).[18][19] C. megalodon may have approached a maxima of 20.3 metres (67 ft) in total length and 103 metric tons (114 short tons) in mass.[20] Paleontological evidence suggests that this shark was an active predator of large cetaceans.” (wikipedia.org) “Sharks are a group of elasmobranch fish characterized by a cartilaginous skeleton, five to seven gill slits on the sides of the head, and pectoral fins that are not fused to the head. Modern sharks are classified within the clade Selachimorpha (or Selachii) and are the sister group to the Batoidea (rays and kin). Some sources extend the term “shark” as an informal category including extinct members of Chondrichthyes (cartilaginous fish) with a shark-like morphology, such as hybodonts. Shark-like chondrichthyans such as Cladoselache and Doliodus first appeared in the Devonian Period (419-359 Ma), though some fossilized chondrichthyan-like scales are as old as the Late Ordovician (458-444 Ma).[1] The oldest modern sharks (selachians) are known from the Early Jurassic, about 200 Ma. Sharks range in size from the small dwarf lanternshark (Etmopterus perryi), a deep sea species that is only 17 centimetres (6.7 in) in length, to the whale shark (Rhincodon typus), the largest fish in the world, which reaches approximately 12 metres (40 ft) in length.[2] They are found in all seas and are common to depths up to 2,000 metres (6,600 ft). They generally do not live in freshwater, although there are a few known exceptions, such as the bull shark and the river shark, which can be found in both seawater and freshwater.[3] Sharks have a covering of dermal denticles that protects their skin from damage and parasites in addition to improving their fluid dynamics. They have numerous sets of replaceable teeth.[4] Several species are apex predators, which are organisms that are at the top of their food chain. Select examples include the tiger shark, blue shark, great white shark, mako shark, thresher shark, and hammerhead shark. Sharks are caught by humans for shark meat or shark fin soup. Many shark populations are threatened by human activities. Since 1970, shark populations have been reduced by 71%, mostly from overfishing.[5] Etymology Until the 16th century,[6] sharks were known to mariners as “sea dogs”.[7] This is still evidential in several species termed “dogfish,” or the porbeagle. The etymology of the word shark is uncertain, the most likely etymology states that the original sense of the word was that of “predator, one who preys on others” from the Dutch schurk, meaning ‘villain, scoundrel’ (cf. card shark, loan shark, etc.), which was later applied to the fish due to its predatory behaviour.[8] A now disproven[original research?] theory is that it derives from the Yucatec Maya word xook (pronounced [ʃoːk]), meaning ‘shark’.[9] Evidence for this etymology came from the Oxford English Dictionary, which notes shark first came into use after Sir John Hawkins’ sailors exhibited one in London in 1569 and posted “sharke” to refer to the large sharks of the Caribbean Sea. However, the Middle English Dictionary records an isolated occurrence of the word shark (referring to a sea fish) in a letter written by Thomas Beckington in 1442, which rules out a New World etymology….Anatomy Main article: Shark anatomy Drawing of a shark labeling major anatomical features, including mouth, snout, nostril, eye, spiracle, dorsal fin spine, caudal keel, clasper, labial furrows, gill openings, precaudal pit and fins: first and second dorsal, anal, pectoral, caudal and pelvic General anatomical features of sharks Teeth Main article: Shark tooth The serrated teeth of a tiger shark, used for sawing through flesh The teeth of tiger sharks are oblique and serrated to saw through flesh Shark teeth are embedded in the gums rather than directly affixed to the jaw, and are constantly replaced throughout life. Multiple rows of replacement teeth grow in a groove on the inside of the jaw and steadily move forward in comparison to a conveyor belt; some sharks lose 30,000 or more teeth in their lifetime. The rate of tooth replacement varies from once every 8 to 10 days to several months. In most species, teeth are replaced one at a time as opposed to the simultaneous replacement of an entire row, which is observed in the cookiecutter shark.[25] Tooth shape depends on the shark’s diet: those that feed on mollusks and crustaceans have dense and flattened teeth used for crushing, those that feed on fish have needle-like teeth for gripping, and those that feed on larger prey such as mammals have pointed lower teeth for gripping and triangular upper teeth with serrated edges for cutting. The teeth of plankton-feeders such as the basking shark are small and non-functional.[26] Skeleton Shark skeletons are very different from those of bony fish and terrestrial vertebrates. Sharks and other cartilaginous fish (skates and rays) have skeletons made of cartilage and connective tissue. Cartilage is flexible and durable, yet is about half the normal density of bone. This reduces the skeleton’s weight, saving energy.[27] Because sharks do not have rib cages, they can easily be crushed under their own weight on land.[28] Jaw The jaws of sharks, like those of rays and skates, are not attached to the cranium. The jaw’s surface (in comparison to the shark’s vertebrae and gill arches) needs extra support due to its heavy exposure to physical stress and its need for strength. It has a layer of tiny hexagonal plates called “tesserae”, which are crystal blocks of calcium salts arranged as a mosaic.[29] This gives these areas much of the same strength found in the bony tissue found in other animals. Generally sharks have only one layer of tesserae, but the jaws of large specimens, such as the bull shark, tiger shark, and the great white shark, have two to three layers or more, depending on body size. The jaws of a large great white shark may have up to five layers.[27] In the rostrum (snout), the cartilage can be spongy and flexible to absorb the power of impacts. Fins Fin skeletons are elongated and supported with soft and unsegmented rays named ceratotrichia, filaments of elastic protein resembling the horny keratin in hair and feathers.[30] Most sharks have eight fins. Sharks can only drift away from objects directly in front of them because their fins do not allow them to move in the tail-first direction.[28] Dermal denticles Further information: Fish scale § Placoid scales The dermal denticles of a lemon shark The dermal denticles of a lemon shark, viewed through a scanning electron microscope Unlike bony fish, sharks have a complex dermal corset made of flexible collagenous fibers and arranged as a helical network surrounding their body. This works as an outer skeleton, providing attachment for their swimming muscles and thus saving energy.[31] Their dermal teeth give them hydrodynamic advantages as they reduce turbulence when swimming.[32] Some species of shark have pigmented denticles that form complex patterns like spots (e.g. Zebra shark) and stripes (e.g. Tiger shark). These markings are important for camouflage and help sharks blend in with their environment, as well as making them difficult for prey to detect.[33] For some species, dermal patterning returns to healed denticles even after they have been removed by injury.[34] Tails Tails provide thrust, making speed and acceleration dependent on tail shape. Caudal fin shapes vary considerably between shark species, due to their evolution in separate environments. Sharks possess a heterocercal caudal fin in which the dorsal portion is usually noticeably larger than the ventral portion. This is because the shark’s vertebral column extends into that dorsal portion, providing a greater surface area for muscle attachment. This allows more efficient locomotion among these negatively buoyant cartilaginous fish. By contrast, most bony fish possess a homocercal caudal fin.[35] Tiger sharks have a large upper lobe, which allows for slow cruising and sudden bursts of speed. The tiger shark must be able to twist and turn in the water easily when hunting to support its varied diet, whereas the porbeagle shark, which hunts schooling fish such as mackerel and herring, has a large lower lobe to help it keep pace with its fast-swimming prey.[36] Other tail adaptations help sharks catch prey more directly, such as the thresher shark’s usage of its powerful, elongated upper lobe to stun fish and squid….In culture Shark-themed nose art, made popular by the Flying Tigers (pictured), is commonly seen on military aircraft. In Hawaii Sharks figure prominently in Hawaiian mythology. Stories tell of men with shark jaws on their back who could change between shark and human form. A common theme was that a shark-man would warn beach-goers of sharks in the waters. The beach-goers would laugh and ignore the warnings and get eaten by the shark-man who warned them. Hawaiian mythology also includes many shark gods. Among a fishing people, the most popular of all aumakua, or deified ancestor guardians, are shark aumakua. Kamaku describes in detail how to offer a corpse to become a shark. The body transforms gradually until the kahuna can point the awe-struck family to the markings on the shark’s body that correspond to the clothing in which the beloved’s body had been wrapped. Such a shark aumakua becomes the family pet, receiving food, and driving fish into the family net and warding off danger. Like all aumakua it had evil uses such as helping kill enemies. The ruling chiefs typically forbade such sorcery. Many Native Hawaiian families claim such an aumakua, who is known by name to the whole community.[109] Kamohoali’i is the best known and revered of the shark gods, he was the older and favored brother of Pele,[110] and helped and journeyed with her to Hawaii. He was able to assume all human and fish forms. A summit cliff on the crater of Kilauea is one of his most sacred spots. At one point he had a heiau (temple or shrine) dedicated to him on every piece of land that jutted into the ocean on the island of Molokai. Kamohoali’i was an ancestral god, not a human who became a shark and banned the eating of humans after eating one herself.[111][112] In Fijian mythology, Dakuwaqa was a shark god who was the eater of lost souls. In American Samoa On the island of Tutuila in American Samoa (a U.S. territory), there is a location called Turtle and Shark (Laumei ma Malie) which is important in Samoan culture — the location is the site of a legend called O Le Tala I Le Laumei Ma Le Malie, in which two humans are said to have transformed into a turtle and a shark.[113][114][115] According to the U.S. National Park Service, “Villagers from nearby Vaitogi continue to reenact an important aspect of the legend at Turtle and Shark by performing a ritual song intended to summon the legendary animals to the ocean surface, and visitors are frequently amazed to see one or both of these creatures emerge from the sea in apparent response to this call.”[113] In popular culture Main article: Sharks in popular culture In contrast to the complex portrayals by Hawaiians and other Pacific Islanders, the European and Western view of sharks has historically been mostly of fear and malevolence.[116] Sharks are used in popular culture commonly as eating machines, notably in the Jaws novel and the film of the same name, along with its sequels.[117] Sharks are threats in other films such as Deep Blue Sea, The Reef, and others, although they are sometimes used for comedic effect such as in Finding Nemo and the Austin Powers series. Sharks tend to be seen quite often in cartoons whenever a scene involves the ocean. Such examples include the Tom and Jerry cartoons, Jabberjaw, and other shows produced by Hanna-Barbera. They also are used commonly as a clichéd means of killing off a character that is held up by a rope or some similar object as the sharks swim right below them, or the character may be standing on a plank above shark infested waters.” (wikipedia.org) “In culture Shark-themed nose art, made popular by the Flying Tigers (pictured), is commonly seen on military aircraft. In Hawaii Sharks figure prominently in Hawaiian mythology. Stories tell of men with shark jaws on their back who could change between shark and human form. A common theme was that a shark-man would warn beach-goers of sharks in the waters. The beach-goers would laugh and ignore the warnings and get eaten by the shark-man who warned them. Hawaiian mythology also includes many shark gods. Among a fishing people, the most popular of all aumakua, or deified ancestor guardians, are shark aumakua. Kamaku describes in detail how to offer a corpse to become a shark. The body transforms gradually until the kahuna can point the awe-struck family to the markings on the shark’s body that correspond to the clothing in which the beloved’s body had been wrapped. Such a shark aumakua becomes the family pet, receiving food, and driving fish into the family net and warding off danger. Like all aumakua it had evil uses such as helping kill enemies. The ruling chiefs typically forbade such sorcery. Many Native Hawaiian families claim such an aumakua, who is known by name to the whole community.[109] Kamohoali’i is the best known and revered of the shark gods, he was the older and favored brother of Pele,[110] and helped and journeyed with her to Hawaii. He was able to assume all human and fish forms. A summit cliff on the crater of Kilauea is one of his most sacred spots. At one point he had a heiau (temple or shrine) dedicated to him on every piece of land that jutted into the ocean on the island of Molokai. Kamohoali’i was an ancestral god, not a human who became a shark and banned the eating of humans after eating one herself.[111][112] In Fijian mythology, Dakuwaqa was a shark god who was the eater of lost souls. In American Samoa On the island of Tutuila in American Samoa (a U.S. territory), there is a location called Turtle and Shark (Laumei ma Malie) which is important in Samoan culture — the location is the site of a legend called O Le Tala I Le Laumei Ma Le Malie, in which two humans are said to have transformed into a turtle and a shark.[113][114][115] According to the U.S. National Park Service, “Villagers from nearby Vaitogi continue to reenact an important aspect of the legend at Turtle and Shark by performing a ritual song intended to summon the legendary animals to the ocean surface, and visitors are frequently amazed to see one or both of these creatures emerge from the sea in apparent response to this call.”[113] In popular culture Main article: Sharks in popular culture In contrast to the complex portrayals by Hawaiians and other Pacific Islanders, the European and Western view of sharks has historically been mostly of fear and malevolence.[116] Sharks are used in popular culture commonly as eating machines, notably in the Jaws novel and the film of the same name, along with its sequels.[117] Sharks are threats in other films such as Deep Blue Sea, The Reef, and others, although they are sometimes used for comedic effect such as in Finding Nemo and the Austin Powers series. Sharks tend to be seen quite often in cartoons whenever a scene involves the ocean. Such examples include the Tom and Jerry cartoons, Jabberjaw, and other shows produced by Hanna-Barbera. They also are used commonly as a clichéd means of killing off a character that is held up by a rope or some similar object as the sharks swim right below them, or the character may be standing on a plank above shark infested waters.” (wikipedia.org) “The compact disc (CD) is a digital optical disc data storage format that was co-developed by Philips and Sony to store and play digital audio recordings. In August 1982, the first compact disc was manufactured. It was then released in October 1982 in Japan and branded as Digital Audio Compact Disc. It was released on March 2, 1983 in North America and Europe. The format was later adapted (as CD-ROM) for general-purpose data storage. Several other formats were further derived, including write-once audio and data storage (CD-R), rewritable media (CD-RW), Video CD (VCD), Super Video CD (SVCD), Photo CD, Picture CD, Compact Disc-Interactive (CD-i) and Enhanced Music CD. Standard CDs have a diameter of 120 millimetres (4.7 in) and are designed to hold up to 74 minutes of uncompressed stereo digital audio or about 650 MiB of data. Capacity is routinely extended to 80 minutes and 700 MiB by arranging data more closely on the same-sized disc. The Mini CD has various diameters ranging from 60 to 80 millimetres (2.4 to 3.1 in); they are sometimes used for CD singles, storing up to 24 minutes of audio, or delivering device drivers. At the time of the technology’s introduction in 1982, a CD could store much more data than a personal computer hard disk drive, which would typically hold 10 MiB. By 2010, hard drives commonly offered as much storage space as a thousand CDs, while their prices had plummeted to commodity levels. In 2004, worldwide sales of audio CDs, CD-ROMs, and CD-Rs reached about 30 billion discs. By 2007, 200 billion CDs had been sold worldwide.[3] Physical details This section needs additional citations for verification. Relevant discussion may be found on the talk page. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (May 2016) (Learn how and when to remove this template message) See also: Shaped compact disc Diagram of CD layers A polycarbonate disc layer has the data encoded by using bumps. A shiny layer reflects the laser. A layer of lacquer protects the shiny layer. Artwork is screen printed on the top of the disc. A laser beam is reflected off the CD to a sensor, which converts it into electronic data. A CD is made from 1.2-millimetre (0.047 in) thick, polycarbonate plastic, and weighs 14–33 grams.[4] From the center outward, components are: the center spindle hole (15 mm), the first-transition area (clamping ring), the clamping area (stacking ring), the second-transition area (mirror band), the program (data) area, and the rim. The inner program area occupies a radius from 25 to 58 mm. A thin layer of aluminum or, more rarely, gold is applied to the surface, making it reflective. The metal is protected by a film of lacquer normally spin coated directly on the reflective layer. The label is printed on the lacquer layer, usually by screen printing or offset printing. Pits and Lands of a compact disc under a microscope CD data is represented as tiny indentations known as pits, encoded in a spiral track moulded into the top of the polycarbonate layer. The areas between pits are known as lands. Each pit is approximately 100 nm deep by 500 nm wide, and varies from 850 nm to 3.5 µm in length.[5] The distance between the tracks (the pitch) is 1.6 µm.[6][7][8] When playing an audio CD, a motor within the CD player spins the disc to a scanning velocity of 1.2–1.4 m/s (constant linear velocity, CLV)—equivalent to approximately 500 RPM at the inside of the disc, and approximately 200 RPM at the outside edge. The track on the CD begins at the inside and spirals outward so a disc played from beginning to end slows its rotation rate during playback. Comparison of various optical storage media The program area is 86.05 cm2 and the length of the recordable spiral is 86.05 cm2 / 1.6 µm = 5.38 km. With a scanning speed of 1.2 m/s, the playing time is 74 minutes or 650 MiB of data on a CD-ROM. A disc with data packed slightly more densely is tolerated by most players (though some old ones fail). Using a linear velocity of 1.2 m/s and a narrower track pitch of 1.5 µm increases the playing time to 80 minutes, and data capacity to 700 MiB. This is a photomicrograph of the pits at the inner edge of a CD-ROM; 2-second exposure under visible fluorescent light. The pits in a CD are 500 nm wide, between 830 nm and 3,000 nm long and 150 nm deep. A CD is read by focusing a 780 nm wavelength (near infrared) semiconductor laser through the bottom of the polycarbonate layer. The change in height between pits and lands results in a difference in the way the light is reflected. Because the pits are indented into the top layer of the disc and are read through the transparent polycarbonate base, the pits form bumps when read.[9] The laser hits the disc, casting a circle of light wider than the modulated spiral track reflecting partially from the lands and partially from the top of any bumps where they are present. As the laser passes over a pit (bump), its height means that the part of the light reflected from its peak is 1/2 wavelength out of phase with the light reflected from the land around it. This causes partial cancellation of the laser’s reflection from the surface. By measuring the reflected intensity change with a photodiode, a modulated signal is read back from the disc. To accommodate the spiral pattern of data, the laser is placed on a mobile mechanism within the disc tray of any CD player. This mechanism typically takes the form of a sled that moves along a rail. The sled can be driven by a worm gear or linear motor. Where a worm gear is used, a second shorter-throw linear motor, in the form of a coil and magnet, makes fine position adjustments to track eccentricities in the disk at high speed. Some CD drives (particularly those manufactured by Philips during the 1980s and early 1990s) use a swing arm similar to that seen on a gramophone. This mechanism allows the laser to read information from the center to the edge of a disc without having to interrupt the spinning of the disc itself.[further explanation needed] Philips CDM210 CD Drive The pits and lands do not directly represent the 0s and 1s of binary data. Instead, non-return-to-zero, inverted encoding is used: a change from either pit to land or land to pit indicates a 1, while no change indicates a series of 0s. There must be at least two, and no more than ten 0s between each 1, which is defined by the length of the pit. This, in turn, is decoded by reversing the eight-to-fourteen modulation used in mastering the disc, and then reversing the cross-interleaved Reed–Solomon coding, finally revealing the raw data stored on the disc. These encoding techniques (defined in the Red Book) were originally designed for CD Digital Audio, but they later became a standard for almost all CD formats (such as CD-ROM)….Disc shapes and diameters Comparison of several forms of disk storage showing tracks (not to scale); green denotes start and red denotes end. * Some CD-R(W) and DVD-R(W)/DVD+R(W) recorders operate in ZCLV, CAA or CAV modes. The digital data on a CD begins at the center of the disc and proceeds toward the edge, which allows adaptation to the different sizes available. Standard CDs are available in two sizes. By far, the most common is 120 millimetres (4.7 in) in diameter, with a 74- or 80-minute audio capacity and a 650 or 700 MiB (737,280,000-byte) data capacity. Discs are 1.2 millimetres (0.047 in) thick, with a 15 millimetres (0.59 in) center hole. The size of the hole was chosen by Joop Sinjou and based on a Dutch 10-cent coin: a dubbeltje.[15] Philips/Sony patented the physical dimensions.[16] The official Philips history says the capacity was specified by Sony executive Norio Ohga to be able to contain the entirety of Beethoven’s Ninth Symphony on one disc.[17] Kees Schouhamer Immink received a personal technical Emmy award for his contributions to the coding technologies of the Compact Disc, DVD, and Blu-ray disc. This is a myth according to Kees Immink, as the EFM code format had not yet been decided in December 1979, when the 120 mm size was adopted. The adoption of EFM in June 1980 allowed 30 percent more playing time that would have resulted in 97 minutes for 120 mm diameter or 74 minutes for a disc as small as 100 millimetres (3.9 in). Instead, however, the information density was lowered by 30 percent to keep the playing time at 74 minutes.[18][19][20] The 120 mm diameter has been adopted by subsequent formats, including Super Audio CD, DVD, HD DVD, and Blu-ray Disc. The 80-millimetre (3.1 in) diameter discs (“Mini CDs”) can hold up to 24 minutes of music or 210 MiB. Physical size Audio capacity CD-ROM data capacity Definition 120 mm 74–80 min 650–700 MB Standard size 80 mm 21–24 min 185–210 MB Mini-CD size 80×54 mm – 80×64 mm ~6 min 10–65 MB “Business card” size Logical format This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2018) (Learn how and when to remove this template message) Audio CD Main article: Compact Disc Digital Audio The logical format of an audio CD (officially Compact Disc Digital Audio or CD-DA) is described in a document produced in 1980 by the format’s joint creators, Sony and Philips.[21] The document is known colloquially as the Red Book CD-DA after the color of its cover. The format is a two-channel 16-bit PCM encoding at a 44.1 kHz sampling rate per channel. Four-channel sound was to be an allowable option within the Red Book format, but has never been implemented. Monaural audio has no existing standard on a Red Book CD; thus, the mono source material is usually presented as two identical channels in a standard Red Book stereo track (i.e., mirrored mono); an MP3 CD, however, can have audio file formats with mono sound. CD-Text is an extension of the Red Book specification for an audio CD that allows for the storage of additional text information (e.g., album name, song name, artist) on a standards-compliant audio CD. The information is stored either in the lead-in area of the CD, where there are roughly five kilobytes of space available or in the subcode channels R to W on the disc, which can store about 31 megabytes. Compact Disc + Graphics is a special audio compact disc that contains graphics data in addition to the audio data on the disc. The disc can be played on a regular audio CD player, but when played on a special CD+G player, it can output a graphics signal (typically, the CD+G player is hooked up to a television set or a computer monitor); these graphics are almost exclusively used to display lyrics on a television set for karaoke performers to sing along with. The CD+G format takes advantage of the channels R through W. These six bits store the graphics information. CD + Extended Graphics (CD+EG, also known as CD+XG) is an improved variant of the Compact Disc + Graphics (CD+G) format. Like CD+G, CD+EG uses basic CD-ROM features to display text and video information in addition to the music being played. This extra data is stored in subcode channels R-W. Very few, if any, CD+EG discs have been published. Super Audio CD Main article: Super Audio CD Super Audio CD (SACD) is a high-resolution, read-only optical audio disc format that was designed to provide higher-fidelity digital audio reproduction than the Red Book. Introduced in 1999, it was developed by Sony and Philips, the same companies that created the Red Book. SACD was in a format war with DVD-Audio, but neither has replaced audio CDs. The SACD standard is referred to as the Scarlet Book standard. Titles in the SACD format can be issued as hybrid discs; these discs contain the SACD audio stream as well as a standard audio CD layer which is playable in standard CD players, thus making them backward compatible. CD-MIDI CD-MIDI is a format used to store music-performance data, which upon playback is performed by electronic instruments that synthesize the audio. Hence, unlike the original Red Book CD-DA, these recordings are not digitally sampled audio recordings. The CD-MIDI format is defined as an extension of the original Red Book. CD-ROM Main article: CD-ROM For the first few years of its existence, the CD was a medium used purely for audio. However, in 1988, the Yellow Book CD-ROM standard was established by Sony and Philips, which defined a non-volatile optical data computer data storage medium using the same physical format as audio compact discs, readable by a computer with a CD-ROM drive. Video CD Main article: Video CD Video CD (VCD, View CD, and Compact Disc digital video) is a standard digital format for storing video media on a CD. VCDs are playable in dedicated VCD players, most modern DVD-Video players, personal computers, and some video game consoles. The VCD standard was created in 1993 by Sony, Philips, Matsushita, and JVC and is referred to as the White Book standard. Overall picture quality is intended to be comparable to VHS video. Poorly compressed VCD video can sometimes be of lower quality than VHS video, but VCD exhibits block artifacts rather than analog noise and does not deteriorate further with each use. 352×240 (or SIF) resolution was chosen because it is half the vertical and half the horizontal resolution of the NTSC video. 352×288 is a similarly one-quarter PAL/SECAM resolution. This approximates the (overall) resolution of an analog VHS tape, which, although it has double the number of (vertical) scan lines, has a much lower horizontal resolution. Super Video CD Main article: Super Video CD Super Video CD (Super Video Compact Disc or SVCD) is a format used for storing video media on standard compact discs. SVCD was intended as a successor to VCD and an alternative to DVD-Video and falls somewhere between both in terms of technical capability and picture quality. SVCD has two-thirds the resolution of DVD, and over 2.7 times the resolution of VCD. One CD-R disc can hold up to 60 minutes of standard-quality SVCD-format video. While no specific limit on SVCD video length is mandated by the specification, one must lower the video bit rate, and therefore quality, to accommodate very long videos. It is usually difficult to fit much more than 100 minutes of video onto one SVCD without incurring a significant quality loss, and many hardware players are unable to play a video with an instantaneous bit rate lower than 300 to 600 kilobits per second. Photo CD Main article: Photo CD Photo CD is a system designed by Kodak for digitizing and storing photos on a CD. Launched in 1992, the discs were designed to hold nearly 100 high-quality images, scanned prints, and slides using special proprietary encoding. Photo CDs are defined in the Beige Book and conform to the CD-ROM XA and CD-i Bridge specifications as well. They are intended to play on CD-i players, Photo CD players, and any computer with suitable software (irrespective of operating system). The images can also be printed out on photographic paper with a special Kodak machine. This format is not to be confused with Kodak Picture CD, which is a consumer product in CD-ROM format. CD-i Main article: Philips CD-i The Philips Green Book specifies a standard for interactive multimedia compact discs designed for CD-i players (1993). CD-i discs can contain audio tracks that can be played on regular CD players, but CD-i discs are not compatible with most CD-ROM drives and software. The CD-i Ready specification was later created to improve compatibility with audio CD players, and the CD-i Bridge specification was added to create CD-i-compatible discs that can be accessed by regular CD-ROM drives. CD-i Ready Main article: CD-i Ready Philips defined a format similar to CD-i called CD-i Ready, which puts CD-i software and data into the pregap of track 1. This format was supposed to be more compatible with older audio CD players. Enhanced Music CD (CD+) Main article: Blue Book (CD standard) Enhanced Music CD, also known as CD Extra or CD Plus, is a format that combines audio tracks and data tracks on the same disc by putting audio tracks in a first session and data in a second session. It was developed by Philips and Sony, and it is defined in the Blue Book. VinylDisc Main article: VinylDisc VinylDisc is the hybrid of a standard audio CD and the vinyl record. The vinyl layer on the disc’s label side can hold approximately three minutes of music….Manufacture Main article: Compact Disc manufacturing Individual pits are visible on the micrometer scale. In 1995, material costs were 30 cents for the jewel case and 10 to 15 cents for the CD. The wholesale cost of CDs was $0.75 to $1.15, while the typical retail price of a prerecorded music CD was $16.98.[22] On average, the store received 35 percent of the retail price, the record company 27 percent, the artist 16 percent, the manufacturer 13 percent, and the distributor 9 percent.[22] When 8-track cartridges, compact cassettes, and CDs were introduced, each was marketed at a higher price than the format they succeeded, even though the cost to produce the media was reduced. This was done because the perceived value increased. This continued from phonograph records to CDs, but was broken when Apple marketed MP3s for $0.99, and albums for $9.99. The incremental cost, though, to produce an MP3 is negligible.[23] Writable compact discs Recordable CD 700 MiB CD-R next to a mechanical pencil for scale Main article: CD-R Recordable Compact Discs, CD-Rs, are injection-molded with a “blank” data spiral. A photosensitive dye is then applied, after which the discs are metalized and lacquer-coated. The write laser of the CD recorder changes the color of the dye to allow the read laser of a standard CD player to see the data, just as it would with a standard stamped disc. The resulting discs can be read by most CD-ROM drives and played in most audio CD players. CD-Rs follow the Orange Book standard. CD-R recordings are designed to be permanent. Over time, the dye’s physical characteristics may change causing read errors and data loss until the reading device cannot recover with error correction methods. Errors can be predicted using surface error scanning. The design life is from 20 to 100 years, depending on the quality of the discs, the quality of the writing drive, and storage conditions.[24] However, testing has demonstrated such degradation of some discs in as little as 18 months under normal storage conditions.[25][26] This failure is known as disc rot, for which there are several, mostly environmental, reasons.[27] The recordable audio CD is designed to be used in a consumer audio CD recorder. These consumer audio CD recorders use SCMS (Serial Copy Management System), an early form of digital rights management (DRM), to conform to the AHRA (Audio Home Recording Act). The Recordable Audio CD is typically somewhat more expensive than CD-R due to lower production volume and a 3 percent AHRA royalty used to compensate the music industry for the making of a copy.[28] High-capacity recordable CD is a higher-density recording format that can hold 20% more data than conventional discs.[29] The higher capacity is incompatible with some recorders and recording software.[30] ReWritable CD Main article: CD-RW CD-RW is a re-recordable medium that uses a metallic alloy instead of a dye. The write laser, in this case, is used to heat and alter the properties (amorphous vs. crystalline) of the alloy, and hence change its reflectivity. A CD-RW does not have as great a difference in reflectivity as a pressed CD or a CD-R, and so many earlier CD audio players cannot read CD-RW discs, although most later CD audio players and stand-alone DVD players can. CD-RWs follow the Orange Book standard. The ReWritable Audio CD is designed to be used in a consumer audio CD recorder, which will not (without modification) accept standard CD-RW discs. These consumer audio CD recorders use the Serial Copy Management System (SCMS), an early form of digital rights management (DRM), to conform to the United States’ Audio Home Recording Act (AHRA). The ReWritable Audio CD is typically somewhat more expensive than CD-R due to (a) lower volume and (b) a 3 percent AHRA royalty used to compensate the music industry for the making of a copy.” (wikipedia.org) “A CD-ROM (/ˌsiːdiːˈrɒm/, compact disc read-only memory) is a type of read-only memory consisting of a pre-pressed optical compact disc that contains data. Computers can read—but not write or erase—CD-ROMs. Some CDs, called enhanced CDs, hold both computer data and audio with the latter capable of being played on a CD player, while data (such as software or digital video) is only usable on a computer (such as ISO 9660[2] format PC CD-ROMs). During the 1990s and early 2000s, CD-ROMs were popularly used to distribute software and data for computers and fifth generation video game consoles. DVD started to replace it in these roles starting in the early 2000s. History The earliest theoretical work on optical disc storage was done by independent researchers in the United States including David Paul Gregg (1958) and James Russel (1965–1975). In particular, Gregg’s patents were used as the basis of the LaserDisc specification that was co-developed between MCA and Philips after MCA purchased Gregg’s patents, as well as the company he founded, Gauss Electrophysics.[3] The LaserDisc was the immediate precursor to the CD, with the primary difference being that the LaserDisc encoded information through an analog process whereas the CD used digital encoding. The physical dimensions are based as follows: Outer diametre: same as a Heineken beer mat. Inner hole: same as the outer diametre of a Dutch dime (ten cents of a Guilder). And that all because Philips is a world famous Dutch company, which had a leading role in the invention. Key work to digitize the optical disc was performed by Toshi Doi and Kees Schouhamer Immink during 1979–1980, who worked on a taskforce for Sony and Phillips.[4] The result was the Compact Disc Digital Audio (CD-DA), defined on 1980. The CD-ROM was later designed as an extension of the CD-DA, and adapted this format to hold any form of digital data, with an initial storage capacity of 553 MB.[5] Sony and Philips created the technical standard that defines the format of a CD-ROM in 1983,[6] in what came to be called the Yellow Book. The CD-ROM was announced in 1984[7] and introduced by Denon and Sony at the first Japanese COMDEX computer show in 1985.[8] In November, 1985, several computer industry participants including Microsoft, Philips, Sony, Apple and Digital Equipment Corporation met to create a specification to define a file system format for CD-ROMs.[9] The resulting specification, called the High Sierra format, was published in May 1986.[9] It was eventually standardized, with a few changes, as the ISO 9660 standard in 1988. One of the first products to be made available to the public on CD-ROM was the Grolier Academic Encyclopedia, presented at the Microsoft CD-ROM Conference in March 1986.[9] CD-ROMs began being used in home video game consoles starting with the PC Engine CD-ROM² (TurboGrafx-CD) in 1988, while CD-ROM drives had also become available for home computers by the end of the 1980s. In 1990, Data East demonstrated an arcade system board that supported CD-ROMs, similar to 1980s laserdisc video games but with digital data, allowing more flexibility than older laserdisc games.[10] By early 1990, about 300,000 CD-ROM drives were sold in Japan, while 125,000 CD-ROM discs were being produced monthly in the United States.[11] Some computers which were marketed in the 1990s were called “multimedia” computers because they incorporated a CD-ROM drive, which allowed for the delivery of several hundred megabytes of video, picture, and audio data. CD-ROM discs Media A CD-ROM in the tray of a partially open CD-ROM drive. CD-ROMs are identical in appearance to audio CDs, and data are stored and retrieved in a very similar manner (only differing from audio CDs in the standards used to store the data). Discs are made from a 1.2 mm thick disc of polycarbonate plastic, with a thin layer of aluminium to make a reflective surface. The most common size of CD-ROM is 120 mm in diameter, though the smaller Mini CD standard with an 80 mm diameter, as well as shaped compact discs in numerous non-standard sizes and molds (e.g., business card-sized media), also exist. Data is stored on the disc as a series of microscopic indentations called “pits”, with the non-indented spaces between them called “lands”. A laser is shone onto the reflective surface of the disc to read the pattern of pits and lands. Because the depth of the pits is approximately one-quarter to one-sixth of the wavelength of the laser light used to read the disc, the reflected beam’s phase is shifted in relation to the incoming beam, causing destructive interference and reducing the reflected beam’s intensity. This is converted into binary data. Standard Several formats are used for data stored on compact discs, known as the Rainbow Books. The Yellow Book, created in 1983,[6][12] defines the specifications for CD-ROMs, standardized in 1988 as the ISO/IEC 10149[1] standard and in 1989 as the ECMA-130[13] standard. The CD-ROM standard builds on top of the original Red Book CD-DA standard for CD audio. Other standards, such as the White Book for Video CDs, further define formats based on the CD-ROM specifications. The Yellow Book itself is not freely available, but the standards with the corresponding content can be downloaded for free from ISO or ECMA. There are several standards that define how to structure data files on a CD-ROM. ISO 9660 defines the standard file system for a CD-ROM. ISO 13490 is an improvement on this standard which adds support for non-sequential write-once and re-writeable discs such as CD-R and CD-RW, as well as multiple sessions. The ISO 13346 standard was designed to address most of the shortcomings of ISO 9660,[14] and a subset of it evolved into the UDF format, which was adopted for DVDs. A bootable CD specification, called El Torito, was issued in January 1995, to make a CD emulate a hard disk or floppy disk. Manufacture Main article: Compact Disc manufacturing Pre-pressed CD-ROMs are mass-produced by a process of stamping where a glass master disc is created and used to make “stampers”, which are in turn used to manufacture multiple copies of the final disc with the pits already present. Recordable (CD-R) and rewritable (CD-RW) discs are manufactured by a different method, whereby the data are recorded on them by a laser changing the properties of a dye or phase transition material in a process that is often referred to as “burning”. CD-ROM format Data stored on CD-ROMs follows the standard CD data encoding techniques described in the Red Book specification (originally defined for audio CD only). This includes cross-interleaved Reed–Solomon coding (CIRC), eight-to-fourteen modulation (EFM), and the use of pits and lands for coding the bits into the physical surface of the CD. The structures used to group data on a CD-ROM are also derived from the Red Book. Like audio CDs (CD-DA), a CD-ROM sector contains 2,352 bytes of user data, composed of 98 frames, each consisting of 33 bytes (24 bytes for the user data, 8 bytes for error correction, and 1 byte for the subcode). Unlike audio CDs, the data stored in these sectors corresponds to any type of digital data, not audio samples encoded according to the audio CD specification. To structure, address and protect this data, the CD-ROM standard further defines two sector modes, Mode 1 and Mode 2, which describe two different layouts for the data inside a sector.[2] A track (a group of sectors) inside a CD-ROM only contains sectors in the same mode, but if multiple tracks are present in a CD-ROM, each track can have its sectors in a different mode from the rest of the tracks. They can also coexist with audio CD tracks, which is the case of mixed mode CDs.” (wikipedia.org) “The Dreamcast[a] is a home video game console released by Sega on November 27, 1998, in Japan; September 9, 1999, in North America; and October 14, 1999, in Europe. It was the first sixth-generation video game console, preceding Sony’s PlayStation 2, Nintendo’s GameCube, and Microsoft’s Xbox. The Dreamcast was Sega’s final console; its 2001 discontinuation ended the company’s eighteen years in the console market. The Dreamcast was developed by an internal Sega team led by Hideki Sato. In contrast to the expensive hardware of the unsuccessful Saturn, the Dreamcast was designed to reduce costs with off-the-shelf components, including a Hitachi SH-4 CPU and an NEC PowerVR2 GPU. Sega used the GD-ROM media format to avoid the expenses of DVD-ROM technology and an optional, custom version of the Windows CE operating system to make porting PC games easy. The Dreamcast was the first console to include a built-in modular modem for internet access and online play. The Dreamcast was released to a subdued reception in Japan, but had a successful US launch backed by a large marketing campaign. However, interest steadily declined as Sony built anticipation for the PlayStation 2. Dreamcast sales did not meet Sega’s expectations after several price cuts, and the company suffered significant financial losses. After a change in leadership, Sega discontinued the Dreamcast on March 31, 2001, withdrew from the console business, and restructured itself as a third-party developer. 9.13 million Dreamcast units were sold worldwide. Its bestselling game, Sonic Adventure (1998)—the first 3D game in Sega’s Sonic the Hedgehog franchise—sold 2.5 million copies. Despite its short lifespan and limited third-party support, reviewers have celebrated the Dreamcast as one of the greatest consoles. It is considered ahead of its time for pioneering concepts such as online play and downloadable content. Many Dreamcast games are regarded as innovative, including Sonic Adventure, Crazy Taxi (1999), Shenmue (1999), Jet Set Radio (2000), Phantasy Star Online (2000), and high-quality ports from Sega’s NAOMI arcade system board. History Background In 1988, Sega released the Genesis (known as the Mega Drive in most countries outside North America), in the fourth generation of video game consoles.[1] It became the most successful Sega console ever, at 30.75 million units sold.[2] Its successor, the Saturn, was released in Japan in 1994.[3] The Saturn is CD-ROM-based and has 2D and 3D graphics, but its complex dual-CPU architecture was more difficult to program than its chief competitor, the Sony PlayStation.[4] Although the Saturn debuted before the PlayStation in Japan and the United States,[5][6] its surprise US launch, four months earlier than scheduled,[7][8][9] was marred by a lack of distribution, which remained a problem.[10] Losses on the Saturn[11] contributed to financial problems for Sega, whose revenue had declined between 1992 and 1995 as part of an industry-wide slowdown.[5][12][13] Sega announced that Shoichiro Irimajiri would replace Tom Kalinske as chairman and CEO of Sega of America,[14][15][16] while Bernie Stolar, a former executive at Sony Computer Entertainment of America,[17][18] became Sega of America’s executive vice president in charge of product development and third-party relations.[15][16] After the 1996 launch of the Nintendo 64, sales of the Saturn and its software fell sharply. As of August 1997, Sony controlled 47 percent of the console market, Nintendo controlled 40 percent, and Sega controlled only 12 percent; neither price cuts nor high-profile games helped the Saturn.[18] I thought the Saturn was a mistake as far as hardware was concerned. The games were obviously terrific, but the hardware just wasn’t there. —Bernie Stolar, former president of Sega of America, in 2009[19] As a result of Sega’s deteriorating financial situation, Hayao Nakayama resigned as president of Sega in January 1998 in favor of Irimajiri,[20] and Stolar acceded to become CEO and president of Sega of America.[18][21] Following five years of generally declining profits,[22] in the fiscal year ending March 31, 1998, Sega suffered its first parent and consolidated financial losses since its 1988 listing on the Tokyo Stock Exchange,[23] reporting a consolidated net loss of ¥35.6 billion (US$269.8 million).[22] Shortly before announcing its financial losses, Sega announced the discontinuation of the Saturn in North America to prepare for the launch of its successor.[18][20] This effectively left the Western market without Sega games for more than a year.[4] Rumors about the upcoming Dreamcast—spread mainly by Sega—leaked to the public before the last Saturn games were released.[24] Development As early as 1995, reports surfaced that Sega would collaborate with Lockheed Martin, The 3DO Company, Matsushita, or Alliance Semiconductor to create a new graphics processing unit, which conflicting accounts said would be used for a 64-bit “Saturn 2” or an add-on peripheral.[25][26][27] Dreamcast development was unrelated.[26][28] Considering the Saturn’s poor performance, Irimajiri looked beyond Sega’s internal hardware development division to create a new console.[28] In 1997, he enlisted IBM’s Tatsuo Yamamoto to lead an 11-person team to work on a secret project in the United States with the codename Blackbelt. Accounts vary on how an internal team led by Hideki Sato also began development on Dreamcast hardware; one account specifies that Sega tasked both teams,[29] and another suggests that Sato was bothered by Irimajiri’s choice to begin development externally and had his team start work.[28][30] Sato and his group chose the Hitachi SH-4 processor architecture and the VideoLogic PowerVR2 graphics processor, manufactured by NEC, in the production of the mainboard. Initially known as Whitebelt,[28] the project was later codenamed Dural, after the metallic female fighter from Sega’s Virtua Fighter series.[24][29] Yamamoto’s group opted to use 3dfx Voodoo 2 and Voodoo Banshee graphics processors alongside a Motorola PowerPC 603e central processing unit (CPU),[28] but Sega management later asked them to also use the SH-4 chip.[29] Both processors have been described as “off-the-shelf” components.[28] According to Charles Bellfield, the former Sega of America vice president of communications and former NEC brand manager, presentations of games using the NEC solution showcased the performance and low cost delivered by the SH-4 and PowerVR architecture. He said that Sega’s relationship with NEC, a Japanese company, likely also influenced the decision to use its hardware rather than the architecture developed in America.[29] Stolar felt the US 3dfx version should have been used, but that “Japan wanted the Japanese version, and Japan won”.[29] As a result, 3dfx filed a lawsuit against Sega and NEC claiming breach of contract, which was settled out of court.[28] The choice to use the PowerVR architecture concerned Electronic Arts (EA), a longtime developer for Sega consoles. EA had invested in 3dfx but was unfamiliar with the selected architecture, which was reportedly less powerful.[29] According to Shiro Hagiwara (a general manager at Sega’s hardware division) and Ian Oliver (the managing director of the Sega subsidiary Cross Products), the SH-4 was chosen while still in development, following lengthy deliberation, as the only processor that “could adapt to deliver the 3D geometry calculation performance necessary”.[31] By February 1998, Sega had renamed the project Katana, after the Japanese sword,[24] although certain hardware specifications such as random access memory (RAM) were not finalized.[32] Knowing the Saturn had been set back by its high production costs and complex hardware, Sega took a different approach with the Dreamcast. Like previous Sega consoles, the Dreamcast was designed around intelligent subsystems working in parallel,[31] but the selections of hardware were closer to personal computers than video game consoles, reducing cost.[28] It also enabled software development to begin before any development kits had been completed, as Sega informed developers that any game developed with a Pentium II 200 in mind would run on the console.[33] According to Damien McFerran, “the motherboard was a masterpiece of clean, uncluttered design and compatibility”.[28] The Chinese economist and future Sega.com CEO Brad Huang convinced the Sega chairman, Isao Okawa, to include a modem with every Dreamcast under opposition from Okawa’s staff over the additional US$15 cost per unit.[34][35][36] To account for rapid changes in home data delivery, Sega designed the modem to be modular.[31] Sega selected the GD-ROM media format.[37] Jointly developed by Sega and Yamaha, the GD-ROM could be mass-produced at a similar price to a normal CD-ROM,[31] avoiding the greater expense of newer DVD-ROM technology.[28][38][39] Microsoft developed a custom Dreamcast version of Windows CE with DirectX API and dynamic-link libraries, making it easy to port PC games to the platform,[31] although programmers would ultimately favor Sega’s development tools over those from Microsoft.[28] A member of the Project Katana team speaking anonymously predicted this would be the case, speculating developers would prefer the greater performance possibilities offered by the Sega OS to the more user-friendly interface of the Microsoft OS.[32] In late 1997 there were reports about the rumored system, then codenamed Dural, and that it had been demonstrated to a number of game developers.[40] The Dreamcast was finally revealed on May 21, 1998 in Tokyo.[41] Sega held a public competition to name its new system and considered over 5,000 different entries before choosing “Dreamcast”—a portmanteau of “dream” and “broadcast”.[28] According to Katsutoshi Eguchi, the Japanese game developer Kenji Eno submitted the name and created the Dreamcast’s spiral logo, but has not been officially credited by Sega.[42] The Dreamcast’s startup sound was composed by the Japanese musician Ryuichi Sakamoto.[43] Because the Saturn had tarnished its reputation, Sega planned to remove its name from the console and establish a new gaming brand similar to Sony’s PlayStation, but Irimajiri’s management team decided to retain it.[28] Sega spent US$50–80 million on hardware development, $150–200 million on software development, and US$300 million on worldwide promotion—a sum which Irimajiri, a former Honda executive, humorously likened to the investments required to design new automobiles.[28][44] Launch Japan Despite a 75 percent drop in half-year profits just before the Japanese launch, Sega was confident about the Dreamcast. It drew significant interest and many pre-orders.[28] However, Sega could not achieve its shipping goals for the Japanese Dreamcast launch due to a shortage of PowerVR chipsets caused by a high failure rate in the manufacturing process.[28][45] As more than half of its limited stock had been pre-ordered, Sega stopped pre-orders in Japan. On November 27, 1998, the Dreamcast launched in Japan at a price of ¥29,000, and the stock sold out by the end of the day. However, of the four games available at launch, only one—a port of Virtua Fighter 3, the most successful arcade game Sega ever released in Japan—sold well.[46] Sega estimated that an additional 200,000–300,000 Dreamcast units could have been sold with sufficient supply.[46] Sega had announced that Sonic Adventure, the next game starring its mascot, Sonic the Hedgehog, would launch with the Dreamcast and promoted it with a large-scale public demonstration at the Tokyo Kokusai Forum Hall,[47][48][49] but it and Sega Rally Championship 2 were delayed.[28] They arrived within the following weeks, but sales continued to be slower than expected.[50] Irimajiri hoped to sell over 1 million Dreamcast units in Japan by February 1999, but sold fewer than 900,000, undermining Sega’s attempts to build an installed base sufficient to protect the Dreamcast after the arrival of competition from other manufacturers.[51] There were reports of disappointed Japanese consumers returning their Dreamcasts and using the refund to purchase additional PlayStation software.[52] Seaman, released in July 1999, became the Dreamcast’s first major hit in Japan.[4][34][53] Prior to the Western launch, Sega reduced the price of the Dreamcast to ¥19,900, effectively making it unprofitable but increasing sales. The reduction and the release of Namco’s Soulcalibur helped Sega gain 17 percent on its shares.[28] North America Before the Dreamcast’s release, Sega was dealt a blow when EA, the largest third-party video game publisher, announced it would not develop games for it. EA’s chief creative officer Bing Gordon said that Sega had “flip-flopped” on the hardware configuration, that EA developers did not want to work on it, and that Sega “was not

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