Translation of "Plattenhülle" in English

You can't hide anything in a record jacket, can you?

The first thing that catches the eye when examining the outer sleeve of a record is, of course, the cover design.

The DE-document does not disclose explicitly anything as to the colour which the disk jacket should present to the viewer.

Through the close-up one can also simultaneously see the pattern of the original print pattern of the original album cover.

According to the album sleeve, the song was dedicated to women such as Amedeo Modigliani's mistress Jeanne Hébuterne.

A collection of photographs was posted online at Waxidermy.com in early 2006, though earlier examples of 'Sleevefacing' include a Mad Magazine cover and a sketch on "The Adam and Joe Show" with Gary Numan holding a record sleeve to his face.

In order to assess the antistatic effect, the records were placed in their sleeves and quickly removed again three times in succession in a dry, heavily dust-laden atmosphere.

Each gripper device encompasses two hook elements which can be operated electromagnetically when the disc-removal apparatus is located in a first position or second position for removing a disc cover from the first or second disc magazine.

In order to assess the antistatic effect, the records were placed in their sleeves and quickly removed again three times in succession in a dry, heavily dust-laden atmosphere.

All the paintings to be seen on the record are still there and sometimes the building is open to the park's visitors.

A flexible disk jacket for accommodating therein a magnetic flexible disk shaped recording medium formed by folding a plastic sheet into a bag-like shape characterised in that the plastic sheet comprises at least one coloured layer having a colour other than black, wherein said coloured layer is superposed on a surface of a plastic sheet so that at least the outer surface of the plastic sheet is coloured in a colour having a Munsell value (V) not smaller than 3."

But the ETM 948 was provided with a cover which could be pivot to the rear and offered space to store the record cover.

Accordingly, in the present case, the particular Munsell value (3), claimed as the limit value for the range of possible colours, has no other significance for the claimed disk jacket than to define a range of colours which is light enough, particularly for concealing fingerprints, at least to some extent.

On the record cover we see Ozzy wrapped up in a red, priestly robe, lifting up a big cross ready for attack, amidst a scene of mist, skulls, a black cat, and so on.

Consequently, the alleged effect, according to which there will not even be any fingerprints present on the disk jacket (as opposed to being present but not visible to the human eye) after it has been touched with greasy fingers, not having been established, its recurrence is denied.

To celebrate this ten year jubilee now there is a great web page on which you can see the two girls printed on the record sleeve (Aileen and Baby) dancing as animated GIFs.

In some of the alternatives proposed for the electrically conductive layer and in one of the two alternatives proposed for the surface on which the layer may be applied, the known disk jacket would therefore present, to the viewer, a relatively light colour.

The seemingly unprinted sleeve lent the album its name and set it apart optically from all the brightly colored albums.

In essence, the subject-matter of the application is a flexible disk jacket made of a plastic sheet which presents, to the outside world a surface which has a colour of a certain minimum light intensity, either by the plastic sheet itself containing a respective pigment (Claim 1) or by its having a respectively coloured layer (Claim 2).

The submission that there is a difference in adhesion of fingerprints between a black and a lighter coloured disk jacket has not been corroborated by verifiable facts.

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More specifically, the Examining Division held that it is obvious to modify a known flexible disk jacket containing carbon as an antistatic agent and being therefore black, in such a way that its disadvantages mentioned in the description are overcome.

Irrespective of whether photographic elements defined the original piece (as in the multi-award-winning ZEITmagazin 14/2010 “Typisch jüdisch” where he went for a portrait of Marilyn Monroe) or typographical elements were used for a poster such as “Black in Dark” for Die Neue Sammlung, and irrespective of whether the originals were multi-colored, as was the cover of the SZ magazine, or mono- or bicolored as with the posters for the music events organized by “Blast of Silence” – for the covered version, he has always used a few brush strokes to abstractly sketch the original composition, always in black on a bright ground, and always with the same sized sheets (70 x 100 cm), irrespective of whether the original was the logo of Hamburg's Thalia Theater or DJ Roland Appel, an album cover, a magazine, or an A0-sized poster for the Bayerische Staatsoper (Bavarian State Opera).

The Appellant has, in this respect, further submitted that the "resistance to marking with fingerprints" should not be regarded as being only a matter of appearance of the fingerprints but as a matter of their presence or absence after the disk jacket has been touched with greasy fingers.