Overview of the Company
The company has three major product lines: 1) digital audio systems, 2) high speed networking solutions for multimedia, and 3) video CD encoding and authoring systems (DVD).
- Leader in high performance professional audio workstations
Started up as a company in 1986 and set industry 1st's in four areas;
1. Integrating a CD recorder with a digital workstation (1989)
2. Showing a 24-track editing and mixing digital workstation (1991)
3. Showing an all digital editing and mixing 48-track system (1995)
4. In 1988 ‘Sonics’ introduced the Sonic System, a line of Macintosh-based digital audio workstations- DVD encoding and authoring systems.
This utilized ‘Sonics’ signal processing hardware and software.
Sonic offers two signal processing platforms with its digital audio systems: 1) the Sonic Signal
Processor (SSP) card for entry level systems with 2 or 4 channels of digital I/O, and, 2) the
Ultra Sonic Processor (USP) system with 8 or 16 channels an advanced platform.
Music Editing and CD Pre-Mastering
Sonic Solutions is perceived as the professional standard for hard disc- based CD prep and
Features’ background loading to and from hard disc, 20 bit editing and mixing, automated mixing,
digital signal processing, equalization, and integrated CD recording among other functions.
Many major record labels and mastering studios’ have one or more ‘Sonic’ systems including
Abbey Road Studios, Capitol Records, Warner Bros, Sony music.
Sound for Picture
‘Sonics’ strength in this market is its ability to deliver a larger workgroup solution - multiple
‘Sonic’ systems can be connected together so that editors can share common sound elements over
an established network, as well as sharing a single transfer for loading and unloading for all the systems on the network.
High profile projects on the ‘Sonic’ system include ‘Apollo 13’, ‘Judge Dredd’, ‘Hoop Dreams’,
‘The Net’, and ‘Seven’.
At the Post Production facility Casablanca in Toronto they digitally edit the audio from the shoot
(down-loading DA-88's into Sonics) through Sonics. They produce the audio for PSI Factor, and
Sinbad in television and they do sound (audio) for films.
Radio Broadcast
Sonic systems are used to edit news programs, music, features, radio commercials, and radio
Dramatic programs for air.
Broadcasters and radio stations that have multiple ‘Sonic’ systems include the BBC, the CBC,
ABC Radio, Australian, Swedish Radio, Danish Radio, Premiere Radio and others.
Networking for Multimedia
Through Media-Net, ‘Sonics’ became the 1st to deliver a network solution to move large media files with respect to Information Technology Systems.
Media Net delivers high-bandwidth digital audio, video and graphics files across networks at
high speeds’ with real-time performance.
Compatible with standard Macintosh and UNIX applications.
Media Net cards provide a high-speed transfer between Macs on the network. Media Net cards manage the files on the discs attached to the Media Net server cards SCSI controllers. This permits high-speed ‘real-time’ data transfers between Macintoshes without affecting the performance of the host computers.
Media Net is used in prepress, graphics, digital video, digital audio, and multimedia applications.
Media Net customers include CNN, Cooperative Media Group (digital video), ‘Conde Nast Spiegal’
Catalog, Quebecer (prepress), Abbey-Road, Capitol Records, CBC, Warner Bros (digital audio)
Digital Audio Workstations
Fast, precise editing: Real time, non-destructive waveform/bar/text-mode editing, multi-channel
Audio-scrubbing, 144 virtual tracks with real-time infinitely variable cross-fades (equalization on
‘the fly’), drag and drop, sound placement and copy and paste editing, auto or punch on the fly, EDL recording, playback and simultaneous records, time-code reading and writing and Quick-Keys.
24-bit mixing desk with real-time, parametric EQ, real-time high and low shelving EQ, dynamic
snapshot mix automation, real-time sample rate conversion, internal digital mix-down, and
self-interfaced dither generator capability.
Features include multitasking, background recording to hard-drive, background dumps to CD-R and DDP, background archive and restore.
Reserved bandwidth networking.
Sonic Studio combines powerful hardware and flexible application software modules.
Sonic Studio - Product Specifications
Ultra Sonic Processor (USP)
- Motorola 56002 66MHz DSP's
- SCSI-2 Fast data bus
- 16 to 32 tracks from disc
- 4 to 16 channels of low-capacitance (greater tolerance) differential copper audio I/O
- 4 serial-ports: two 9-pin VTR's, one LTC, and one auxiliary
- 24-bit recording resolution
- 56 bit mix-down bus
- 44.1 to 48KHz sample rates supported
Digital I/O
- 4 to 8 channels of AES Type 1 (XLR)
- Single-rack space enclosure
- Sub-nanosecond jitter re-clocking circuit
- Word sync input
A/D and D/A Converters
- 18-bit A/D conversion (technology is improving and we are currently at 384-bit)
- -98 dB S/N ratio. In other words there is no headroom (zero-tolerance).
- Balanced XLR inputs
- Single rack space enclosure
- Sub-nanosecond jitter clock circuit
- Word sync input
- 44.1 and 48 kilohertz internal crystal (current sampling rate is 384Khz)
- The D/A converter carries’ the same parts, polarized.
Optical Converter
- Conversion of AES/EBU and SPDIF digital between coaxial and optical
- AES Type 1 (XLR). A.E.S – American/ European Standard, E.B.U – European Broadcast Union also known as the U.K (United Kingdom). This is bias towards the E.E.C (European Economic Community) and is one of the main reasons this technology was introduced into the market to promote equalization between markets outside the boundaries of the U.K optical.
- AES Type 2 (RCA) – Coaxial.
System and Peripheral Compatibility (Compatible Products)
- Hard Drives, DDP and Archiving, Computers, CD, DVD Recorders, JPEG Digital Video Boards,
Video to Digital Audio Sync Devices, CD-Rom Readers (Should your Hard-drive crash you lose everything), Third Party Archiving Software (i.e. – Other users on the network, and, hackers)
- Hardware Controllers, Digital Routing Products, and High Density Products.
Sonic Studio Software Accessories and Plug-ins
General Tools
- Sonic Basic Sample Rate Conversion
- Sonic Sample Rate Conversion/ Varied-speed
- Sonic Expanded Mixing Desk (unlimited tracks)
- Sonic Designer Reverb
- Sonic Time Twist – adjusting the time-code within context, turning 30 seconds into 40 seconds – just
an example- and this is expanding time. Turning 40 seconds into 30 seconds is compressing time.
- Sonic Machine Control
- Sonic Manual De-clicking (error processing-removing noise created by the dither generator)
Music Editing/CD Prep Tools
- PQ Basic
- Expanded PQ Editing
- ‘Turbo-Bit Mapping/Sony Super-Bit Mapping’ – Doubling the signal for effect.
- DDP Pre-mastering
- CD-ROM Utility
Audio Post/Sound for Picture
- Sonic Digital Video
- EDL Translator/Auto-conform
No-Noise Options
- Manual De-clicking
- Production De-clicking and Distortion Removal
- Broadband De-noising (Gausian – Shaped, Chebeshev –Notch filtering)
- Complex Filtering (notch-filtering also using Butterworth and Bessel filters)
No Noise : Sound Restoration
- Removes pops, transients, background hum, and distortions. It can repair, reduce and
eliminate un-wanted noise at full 24-bit precision and at 44.1 or 48KHz.
- No Noise lets you reduce or eliminate fixed frequency noise caused by AC hum, HVAC units,
cameras, and generators. Noise from mechanical damage to recording surfaces, transients
caused by splices, and channel breakup from wireless microphones can also be reduced or
entirely eliminated, likewise distortion caused by overloads or nonlinearities.
- The 1st step in any restoration or de-noising process is identifying problem areas such as buzzes,
hum, or other fixed frequency noise. No Noise performs a Fast or Discreet Fourier Transform
(F.F.T or D.F.T). This creates a visual representation of your material inside the digital editor within ‘Sonics’.
- Once you've uncovered harmonic and related noise problems, No Noise lets you design your own
‘Bands’ of equalizers to correct them - Shelves, band-pass/ band-stop filters (an inversion), as well as notches lets you "surgically" remove unwanted energy.
- Then, ‘Sonics’ production de-clicker automatically replaces pops, clicks, ticks, and other noise
with high fidelity re-synthesized audio, producing seamless replacement of the damaged
material. It offers settings for dialogue, music, and mixed audio tracks.
- No Noise’s ‘de-crackler’ cleans up distortion other systems can't conquer, including clipped
digital recordings and surface noise on analog tape.
- No Noise offers real-time broadband de-noising. You are able to interactively adjust the
parameters while listening to the complete sound file, not just a repeating loop. You can also
save several settings files for fast, easy comparisons. The de-noiser even operates on a
"flow through" basis for on-air feeds and rush jobs.
- Used to polish up old analog recordings in the studio, many popular TV shows, movies and even
audio from wiretaps for the police departments.
Sonic Studio Master : CD/ DVD Premastering
- Used in almost all of the leading record labels, mastering studios, and CD manufacturing plants
in the world.
- Strongest creative editing options available, including unique cross-fades for thousands of
individual sample edits.
- 16, 20, 24 bit real-time editing for the highest quality sound available (we’re currently at 384-bit).
- Includes functions like real-time sample rate conversion on input, vari-speed on playback, super
high quality time compression, pitch shifting (time twist), and total mixing automation.
- User-definable, infinitely-variable cross- fades.
- True multitasking engine for maximum productivity.
- Turbo Bit Mapping (and optional Super Bit Mapping) let you preserve near 24-bit recording
quality in a 16-bit medium.
Supports mixed-mode CD/DVD writing, CD/DVD audio copying, Video CD/DVD writing. Likewise large bandwidth files to be transferred in real-time.
Saturday, November 22, 2014
Technology - A Five Part Series (by Moses a.k.a Stacey Marc Goldman)
Technology (Part One of Five)
Computers – i) Apple ii) Internal Business Machines (I.B.M) iii) Hewlett Packard iv) Olivetti v) N.C.R (Bank Machines – Wide Area Network).
Microphones- i) Ribbon ii) Dynamic iii) Condenser – Polar Patterns in reference to all three.
Camera’s – i) Analog ii) Digital
Automotives - refer to article in Pop-Culture
Planes – i) Boeing 747, 767 ii) Mirage iii) F-16/17/18 iv) C-16 v) Concorde vi) Cesna vii) MIG
Trains – i) Bombardier ii)Go-Train iii) C.N Rail (Canadian National) iv) Via Rail v) Amtrak
Radar – Tracking – Satellites
Cable – i) Ground (Copper) ii) Fiber-optics-Satellite iii) Standard frequency – i.e. 900Mega-Hertz – Cellular.
The internet vs. singular workstations
Fuel – i) Solar ii) Electric iii) Hydrogen iv) Wind v) Fossil vi) Nuclear
A/C – D/C – Alternating Current – Direct Current
A.M (Amplitude Modulation) and F.M (Frequency Modulation)
Source – Monitors (also known as an Input / Output Module) – a channel
Electronic Principles and Digital Circuitry A.K.A Silicon
Computers
There are 9 characters in a byte. One byte sequence is binary, and follows the sequence 1, 2, 4, 8, etc. This is called pulse code modulation, and other pulse codes such as pulse width, pulse number, and pulse positional are considered to be modulation or synthesis – osmosis (change).
In binary the sequence is as follows; 1 is on, 0 is off
The least significant bit is the bit to the furthest right. i.e. – 10100(1- least significant bit)
The most significant bit is the bit to the furthest left. i.e. – (1)01001
The binary word is a list of on and offs. i.e. - 101100101 – the bit rate is the number of bits in the binary word.
To calculate the value of the binary word simply, from right to left, add each bit together. The sequence of a binary word is as follows; 1, 2, 4, 8, 16, 32, 64…
To calculate; 101001101 – bit rate is 9
256+64+8+4+1 = 333 x 9
Therefore the binary word has 2997 characters
Computers and Communication
An exchange of information from one data bank to another whereupon a data bank can be a disk, a hard-drive, a software application, or random access memory. A disk stores information. With a disk you put it into a drive and the hard-drive (random operating memory) stores it. The hard-drive then retrieves this information by using its’ random access memory. The disk in this configuration is the master device.
A hard-drive uses both R.O.M, and R.A.M. Operating memory is information stored and access memory is retrieved information.
Software applications are platforms used to store and retrieve information. Essentially, the concept of software includes hardware, as in order to access any information from a computer you’re retrieving this information from your R.O.M (which is a software application – internal to the hard-drive). Each independent digital workstation is a search engine. To copyright it makes it a legal commodity. Software applications access these stations through a Local Area Network and to a Wide Area Network, the intranet in the Private sector and the internet in the Public sector. For a company to burn D.V.D’s (Digital Video Encoding Drives) for the masses outside copyright means that they have the right to affect the storage medium, test frequencies, also known as propagate – influence.
Video Games
In 1971 home computers were introduced at a 2-bit rate, 3 kilobytes, is 27,000 characters and the video game Pong was released. Today, when two-bit is used the least significant bit is the indicator as to whether the machine is on or off at 1 and 0 (a switch), and the most significant bit is the total number of characters, undefined by specification.
In 1975, the technology changes towards a format in 4-bit, 15 kilobytes, is 135,000 characters and we saw Atari – Space Invaders and Galaxian, video games that were put in Arcades for the Public. These video games taught intolerance towards aliens, anyone outside their ways. People that played the game in an arcade had to stand as the game was designed for this purpose.
In 1977, Atari, Commodore, Apple, I.B.M, Coleco-Vision introduced 7-bit, also known as 64K, or 127 kilobytes, is 1,143,000 characters. They were Home Systems using conceptual video games such as Donkey Kong and Zapper designed to teach a person to fight paranoia (while sitting on a couch).
In 1983, Arcades introduced the Video Game Dragon’s Lair. This was the first virtual reality Video Game on the Market in the Arcades. It promoted the idealism of making choices. If you made the wrong choice you died. Virtual Reality is reality – A persons’ vision.
In 1987, Nintendo and Sega Home Systems surfaced and the number of conceptual video games are now so ever-changing that one must question what the games are teaching regarding the education of our children.
Significant analogies regarding the properties of Video Games;
1. Game Over – Death
2. Score – Digital representation of the analog domain, the player him/her self
3. Killing – De-sensitization
4. Arcades – Community Hard-drive (Hub)
5. Home Systems – Hubs and interface cards (Cartridges and System-internal software)
6. Software (interface cards) – Hard-drive (circuitry) - Grid
Synopsis
By 1996 the professional application used in post-production technology was 16-bit, or 65,535,000 kilobytes (65,535 megabytes) is 294,913,359,000,000 characters. It operated at 2 gigahertz.
In professional applications today, as of Jan 16th/08, an I-Pod uses 80 Gigabytes of R.O.M at 2 gigahertz, and post- production facilities use 384-bit at 20 gigahertz, a lot of information to account for, at an enormous speed. In 1998, the professional application of Ram was 4 gigabytes, used by Apple, in the name of the Seagate Barracuda (operating at 2 Gigahertz).
In my opinion the professional standard application should be 24-bit, or 16,777,215,000 Kilobytes (16.777215 terabytes), or 16,777,215,000,000 bytes, is 150,994,935,000,000,000 characters (operating at 4 gigahertz). My logic is this; In order for a man or woman to account for more characters than this amount, it will be such an ‘information overload’ that their system will turn to paranoia. In modern day home computers they’re starting to use terabytes. A terabyte is 1 trillion bytes, or, 1,000,000,000,000 bytes or 9,000,000,000,000 characters.
Computers – i) Apple ii) Internal Business Machines (I.B.M) iii) Hewlett Packard iv) Olivetti v) N.C.R (Bank Machines – Wide Area Network).
Microphones- i) Ribbon ii) Dynamic iii) Condenser – Polar Patterns in reference to all three.
Camera’s – i) Analog ii) Digital
Automotives - refer to article in Pop-Culture
Planes – i) Boeing 747, 767 ii) Mirage iii) F-16/17/18 iv) C-16 v) Concorde vi) Cesna vii) MIG
Trains – i) Bombardier ii)Go-Train iii) C.N Rail (Canadian National) iv) Via Rail v) Amtrak
Radar – Tracking – Satellites
Cable – i) Ground (Copper) ii) Fiber-optics-Satellite iii) Standard frequency – i.e. 900Mega-Hertz – Cellular.
The internet vs. singular workstations
Fuel – i) Solar ii) Electric iii) Hydrogen iv) Wind v) Fossil vi) Nuclear
A/C – D/C – Alternating Current – Direct Current
A.M (Amplitude Modulation) and F.M (Frequency Modulation)
Source – Monitors (also known as an Input / Output Module) – a channel
Electronic Principles and Digital Circuitry A.K.A Silicon
Computers
There are 9 characters in a byte. One byte sequence is binary, and follows the sequence 1, 2, 4, 8, etc. This is called pulse code modulation, and other pulse codes such as pulse width, pulse number, and pulse positional are considered to be modulation or synthesis – osmosis (change).
In binary the sequence is as follows; 1 is on, 0 is off
The least significant bit is the bit to the furthest right. i.e. – 10100(1- least significant bit)
The most significant bit is the bit to the furthest left. i.e. – (1)01001
The binary word is a list of on and offs. i.e. - 101100101 – the bit rate is the number of bits in the binary word.
To calculate the value of the binary word simply, from right to left, add each bit together. The sequence of a binary word is as follows; 1, 2, 4, 8, 16, 32, 64…
To calculate; 101001101 – bit rate is 9
256+64+8+4+1 = 333 x 9
Therefore the binary word has 2997 characters
Computers and Communication
An exchange of information from one data bank to another whereupon a data bank can be a disk, a hard-drive, a software application, or random access memory. A disk stores information. With a disk you put it into a drive and the hard-drive (random operating memory) stores it. The hard-drive then retrieves this information by using its’ random access memory. The disk in this configuration is the master device.
A hard-drive uses both R.O.M, and R.A.M. Operating memory is information stored and access memory is retrieved information.
Software applications are platforms used to store and retrieve information. Essentially, the concept of software includes hardware, as in order to access any information from a computer you’re retrieving this information from your R.O.M (which is a software application – internal to the hard-drive). Each independent digital workstation is a search engine. To copyright it makes it a legal commodity. Software applications access these stations through a Local Area Network and to a Wide Area Network, the intranet in the Private sector and the internet in the Public sector. For a company to burn D.V.D’s (Digital Video Encoding Drives) for the masses outside copyright means that they have the right to affect the storage medium, test frequencies, also known as propagate – influence.
Video Games
In 1971 home computers were introduced at a 2-bit rate, 3 kilobytes, is 27,000 characters and the video game Pong was released. Today, when two-bit is used the least significant bit is the indicator as to whether the machine is on or off at 1 and 0 (a switch), and the most significant bit is the total number of characters, undefined by specification.
In 1975, the technology changes towards a format in 4-bit, 15 kilobytes, is 135,000 characters and we saw Atari – Space Invaders and Galaxian, video games that were put in Arcades for the Public. These video games taught intolerance towards aliens, anyone outside their ways. People that played the game in an arcade had to stand as the game was designed for this purpose.
In 1977, Atari, Commodore, Apple, I.B.M, Coleco-Vision introduced 7-bit, also known as 64K, or 127 kilobytes, is 1,143,000 characters. They were Home Systems using conceptual video games such as Donkey Kong and Zapper designed to teach a person to fight paranoia (while sitting on a couch).
In 1983, Arcades introduced the Video Game Dragon’s Lair. This was the first virtual reality Video Game on the Market in the Arcades. It promoted the idealism of making choices. If you made the wrong choice you died. Virtual Reality is reality – A persons’ vision.
In 1987, Nintendo and Sega Home Systems surfaced and the number of conceptual video games are now so ever-changing that one must question what the games are teaching regarding the education of our children.
Significant analogies regarding the properties of Video Games;
1. Game Over – Death
2. Score – Digital representation of the analog domain, the player him/her self
3. Killing – De-sensitization
4. Arcades – Community Hard-drive (Hub)
5. Home Systems – Hubs and interface cards (Cartridges and System-internal software)
6. Software (interface cards) – Hard-drive (circuitry) - Grid
Synopsis
By 1996 the professional application used in post-production technology was 16-bit, or 65,535,000 kilobytes (65,535 megabytes) is 294,913,359,000,000 characters. It operated at 2 gigahertz.
In professional applications today, as of Jan 16th/08, an I-Pod uses 80 Gigabytes of R.O.M at 2 gigahertz, and post- production facilities use 384-bit at 20 gigahertz, a lot of information to account for, at an enormous speed. In 1998, the professional application of Ram was 4 gigabytes, used by Apple, in the name of the Seagate Barracuda (operating at 2 Gigahertz).
In my opinion the professional standard application should be 24-bit, or 16,777,215,000 Kilobytes (16.777215 terabytes), or 16,777,215,000,000 bytes, is 150,994,935,000,000,000 characters (operating at 4 gigahertz). My logic is this; In order for a man or woman to account for more characters than this amount, it will be such an ‘information overload’ that their system will turn to paranoia. In modern day home computers they’re starting to use terabytes. A terabyte is 1 trillion bytes, or, 1,000,000,000,000 bytes or 9,000,000,000,000 characters.
Technology - (Part Two) - by Moses
Nano-Second/Sub-Zero Nano Second
A nanosecond is roughly .000000000001
A sub-zero nanosecond is roughly -.000000000001 (negative energy, negative time, stored information).
Sub-zero nanoseconds are used in sample and hold circuits to filter the trigger. This makes the digital reproduction seem real. It is used in only the professional audio and graphic software applications. Theoretically, this technology could be used to create temperal and spacial changes in our environment.
Internet versus Intranet
An intranet is the connection of hard-drives (cards) to a main source (hub). An internet connects these cards to a hub and to each-other.
The first intranet was developed in WW11 when the Americans and the British had their submarines’ hard-drives (cards) connected to one central hub. The submarines could only communicate with the central hub. This was essentially an internet as the central hub could share information discriminately. Location was usually shared from the central hub. In this configuration the hub itself was designed as a software application. This is what we see today in the form of search engines. This in its purist form is’ Networking. For example - E-Mail, My Space, Face-book, U Tube any software application for that matter.
Four properties of an internet;
1) Sharing information
2) Trading information,
3) Securing information
4) Selling information.
Gates and Limiters (Nyquist Limit)
Gates – in the analog domain, a gate is considered intolerance. The paradigm relationship is considered expansion. In other words 1:2, 1:4, 1:16, 1:256 and 1: 65536 are exponential rates of expansion and is considered to be tolerance (You’re tolerant up to a point). Past its’ level of barometer it becomes too fast a rate and is discriminated upon. In the digital domain, a gate is considered stringency (defined). Expansion in this context is considered a variance of concept (triggers). A Gate in its’ purest form takes a frequency barometer for example 20Hertz and any frequency above is mainstreamed and any frequency below is cut. That is why some machines use high-pass filters and some machines use low-cut filters. To insure that the signal is clean a 12 Hertz guard-band is used, and this increases the headroom of the signal (as the barometer of the Gate is set at 12 Hertz, therefore the peak frequency increases allowing for the signal to be recorded hotter. i.e. 10 dbu as opposed to 6 dbu).
Limiters – in the analog domain a limiter is considered intolerance. The paradigm relationship is considered compression. In other words 2:1, 4:1, 16:1, 256:1, 65536:1 is an exponential rate of compression and is considered to be tolerance. Past its’ level of barometer it becomes too much pressure and is discriminated upon. In the digital domain, a limiter is considered stringency (defined). Compression in this context is considered a variance of concept (triggers). A limiter in its’ purest form takes a frequency barometer, for example, 20khz and any frequency below is mainstreamed, and any frequency above is cut. That is why some machines use low-pass filters and some machines use high-cut filters. When it comes to limiters and compressors the filter carries a property that is called guard-band, firewalls and in CD professional applications a 2 kilohertz guard-band is used to prevent distortion (also known as unwanted noise). This is a Nyquist principle and creates headroom. In Digital Audio Tape there is no guard-band to protect the print and this is why an audio engineer uses a limiter so as to not clip (anything past 0dbu and the highest frequency recorded is less than 20khz enabling the signal appear to have more depth – A.K.A more headroom. There is more headroom with D.A.T tape than Compact disks as Compact disks incorporate a 2khz guard-band to print onto disk without distortion (as even with a built in limiter the print is only capable of printing frequencies up to 20.05khz and this is a full 3.95khz less in sampling than D.A.T. In the Nyquist Limit all frequencies positive and negative are accounted for and this is why the maximum frequency is doubled (in magnetics this is considered positive and negative ions). In other words through the Nyquist limit we see 20.05 kilohertz + 2kilohertz guard-band = 22.05 kilohertz x 2 = 44.1 kilohertz (C.D). D.A.T takes 24 kilohertz and doubles it to follow the Nyquist principle of positive and negative waveforms that encompasses all spectrums of sound.
Tape Speed
7.5 inches/second maximizes domains, meaning that there is more domains to work with. In professional applications in the analog domain 2-inch tape is used and in the digital domain Super-8 tape is used. In amateur and semi-professional applications tape speed is sped up to 30 inches/second and is used to accelerate rate. By using less tape and maximizing domains the human brain has a greater chance of interpreting the data effectively, also known as optimum (vs. Peak). 4-track on cassette is one side only as the left channel is in stereo, as is the right channel. This is also known as surround sound, or THX – a Lucas design (commonly referred to as DTS – Digital Theatre Systems).
Broadcast Networks
From a source (camera and/or microphone through a cable and/or antennae) to satellites- A.K.A monitors.
Miramax – E.T
M.G.M (Metro-Goldwyn-Mayer) – James Bond
Warner Brothers – A Clockwork Orange
Disney – The Jungle Book
Columbia (C.B.S, A.B.C, N.B.C included) – DaVinci Code
Alliance – Johnny Mnemonic
Fox
T.B.S – The Atlanta Braves
C.B.C – Hockey Night in Canada
C.T.V – The Toronto Blue Jays
B.B.C – Monty Python
Sony – Amanda Marshall
Paramount – The Sting
Orion
Dream-Works
Nelson/Embassy
Universal
MCA
In Video we see test tape on the feed also known as propagation (or influence-excise). There is frequency bias (the colorization of sound), amplitude bias (volume), panning bias (left and right channels), quadrant bias (where the focus of the screen appears), reverb or contrast (the depth of the signal), the pitch and pixel count (resolution), the timbre (brightness or tone, the equalization), and leagues (the overall perception broadcast and received- A.K.A- Sonar). To affect the equalization of the signal logarithms-synthesis is used A.K.A log. I.E – 1 cent of 100 is .01 or log10, 1 cent of log10 (.01) is .001 (log20), I cent of log20 is .0001 (log30) etc. This provides us with seamless edits and makes the picture pleasing to the eye.
A nanosecond is roughly .000000000001
A sub-zero nanosecond is roughly -.000000000001 (negative energy, negative time, stored information).
Sub-zero nanoseconds are used in sample and hold circuits to filter the trigger. This makes the digital reproduction seem real. It is used in only the professional audio and graphic software applications. Theoretically, this technology could be used to create temperal and spacial changes in our environment.
Internet versus Intranet
An intranet is the connection of hard-drives (cards) to a main source (hub). An internet connects these cards to a hub and to each-other.
The first intranet was developed in WW11 when the Americans and the British had their submarines’ hard-drives (cards) connected to one central hub. The submarines could only communicate with the central hub. This was essentially an internet as the central hub could share information discriminately. Location was usually shared from the central hub. In this configuration the hub itself was designed as a software application. This is what we see today in the form of search engines. This in its purist form is’ Networking. For example - E-Mail, My Space, Face-book, U Tube any software application for that matter.
Four properties of an internet;
1) Sharing information
2) Trading information,
3) Securing information
4) Selling information.
Gates and Limiters (Nyquist Limit)
Gates – in the analog domain, a gate is considered intolerance. The paradigm relationship is considered expansion. In other words 1:2, 1:4, 1:16, 1:256 and 1: 65536 are exponential rates of expansion and is considered to be tolerance (You’re tolerant up to a point). Past its’ level of barometer it becomes too fast a rate and is discriminated upon. In the digital domain, a gate is considered stringency (defined). Expansion in this context is considered a variance of concept (triggers). A Gate in its’ purest form takes a frequency barometer for example 20Hertz and any frequency above is mainstreamed and any frequency below is cut. That is why some machines use high-pass filters and some machines use low-cut filters. To insure that the signal is clean a 12 Hertz guard-band is used, and this increases the headroom of the signal (as the barometer of the Gate is set at 12 Hertz, therefore the peak frequency increases allowing for the signal to be recorded hotter. i.e. 10 dbu as opposed to 6 dbu).
Limiters – in the analog domain a limiter is considered intolerance. The paradigm relationship is considered compression. In other words 2:1, 4:1, 16:1, 256:1, 65536:1 is an exponential rate of compression and is considered to be tolerance. Past its’ level of barometer it becomes too much pressure and is discriminated upon. In the digital domain, a limiter is considered stringency (defined). Compression in this context is considered a variance of concept (triggers). A limiter in its’ purest form takes a frequency barometer, for example, 20khz and any frequency below is mainstreamed, and any frequency above is cut. That is why some machines use low-pass filters and some machines use high-cut filters. When it comes to limiters and compressors the filter carries a property that is called guard-band, firewalls and in CD professional applications a 2 kilohertz guard-band is used to prevent distortion (also known as unwanted noise). This is a Nyquist principle and creates headroom. In Digital Audio Tape there is no guard-band to protect the print and this is why an audio engineer uses a limiter so as to not clip (anything past 0dbu and the highest frequency recorded is less than 20khz enabling the signal appear to have more depth – A.K.A more headroom. There is more headroom with D.A.T tape than Compact disks as Compact disks incorporate a 2khz guard-band to print onto disk without distortion (as even with a built in limiter the print is only capable of printing frequencies up to 20.05khz and this is a full 3.95khz less in sampling than D.A.T. In the Nyquist Limit all frequencies positive and negative are accounted for and this is why the maximum frequency is doubled (in magnetics this is considered positive and negative ions). In other words through the Nyquist limit we see 20.05 kilohertz + 2kilohertz guard-band = 22.05 kilohertz x 2 = 44.1 kilohertz (C.D). D.A.T takes 24 kilohertz and doubles it to follow the Nyquist principle of positive and negative waveforms that encompasses all spectrums of sound.
Tape Speed
7.5 inches/second maximizes domains, meaning that there is more domains to work with. In professional applications in the analog domain 2-inch tape is used and in the digital domain Super-8 tape is used. In amateur and semi-professional applications tape speed is sped up to 30 inches/second and is used to accelerate rate. By using less tape and maximizing domains the human brain has a greater chance of interpreting the data effectively, also known as optimum (vs. Peak). 4-track on cassette is one side only as the left channel is in stereo, as is the right channel. This is also known as surround sound, or THX – a Lucas design (commonly referred to as DTS – Digital Theatre Systems).
Broadcast Networks
From a source (camera and/or microphone through a cable and/or antennae) to satellites- A.K.A monitors.
Miramax – E.T
M.G.M (Metro-Goldwyn-Mayer) – James Bond
Warner Brothers – A Clockwork Orange
Disney – The Jungle Book
Columbia (C.B.S, A.B.C, N.B.C included) – DaVinci Code
Alliance – Johnny Mnemonic
Fox
T.B.S – The Atlanta Braves
C.B.C – Hockey Night in Canada
C.T.V – The Toronto Blue Jays
B.B.C – Monty Python
Sony – Amanda Marshall
Paramount – The Sting
Orion
Dream-Works
Nelson/Embassy
Universal
MCA
In Video we see test tape on the feed also known as propagation (or influence-excise). There is frequency bias (the colorization of sound), amplitude bias (volume), panning bias (left and right channels), quadrant bias (where the focus of the screen appears), reverb or contrast (the depth of the signal), the pitch and pixel count (resolution), the timbre (brightness or tone, the equalization), and leagues (the overall perception broadcast and received- A.K.A- Sonar). To affect the equalization of the signal logarithms-synthesis is used A.K.A log. I.E – 1 cent of 100 is .01 or log10, 1 cent of log10 (.01) is .001 (log20), I cent of log20 is .0001 (log30) etc. This provides us with seamless edits and makes the picture pleasing to the eye.
Technology (Part Three) - by Moses
Communications and Code
Communications
In today’s communications Cellular technology promotes Cell Networks. Satellite promotes the Globalization of communication. Accountability. The U.S.A wants it both ways. I would back satellite for the simple reason that relay stations are not employed in satellite technology as if they are it is considered industrial espionage. A relay station interprets differently from one station to the next. Perception is changed promoting Schizophrenia. One Satellite (backed up by Ground Hub) used by the World just means that it’s an even playing field. It does not mean that every phone is connected together at the same exact time. All it means is that you’re accessing the same monitor. You can’t monitor 1 billion phone calls at the same time.
Code
Phones that operate at a standardized frequency allows for a person to know that they’re grounded. Implementing relay station to relay station is changing perception so many times over that a person has no sense of where the signal is going, therefore a person subconsciously mistrusts.
Something was said. Is it true? What was said? In what context was it said? Do you believe the person? Did they look left? What is the root issue? Did the person convict the other person? How was it said? Were both avenues shot down? These are all measures of a persons’ ability to communicate.
To communicate effectively a person has to be honest. Once a person is caught in a lie, their credibility is in question.
You never take what someone says to be a lie. Once you do you become gullible. This is a term used to express a persons’ inability to communicate effectively.
Once you’ve decided what it is you believe you never give up that idealism. Straying too often and your perception becomes’ altered, and this is misinformation.
Spotting it and a persons’ opinion of another is influenced.
Pharmaceuticals were introduced as a way of combating misinformation, so as to not change a person into becoming a controlled entity. Emancipation is the cleansing of naivety – to see things straight – To do this is a Monotheist practice. Visions are promoted in this context and we become down to earth.
Any exchange of information carries 7 properties;
1) Truth, 2) Lie, 3) Half-Truth, 4) Argument, 5) Presentation, 6) Perception, 7) Deduction
Once the information has gone through these 7 properties it becomes a matter as to who carries similar perspectives. You associate with these people. To associate with a person that is argumentative towards a deduction that they believe in means that they won’t back you. Always shut your mouth at this point as they will do anything to shoot you down. This is called character assassination.
Raising spirits encourages a person to remember their past, to be successful in the present, and affect change for the future. By the way, should you be watching a Hockey game on television a person thinks to affect the present, when in actual fact they are ruminating about the past, as there is a 4 second tape delay from the source to the monitor. This affects a persons’ persona, shaping a persons’ conscience.
Memory and Memory Loss
Memory Loss
Frequencies (UHF/VHF) – Filtering – Visual – Triggers – Interface
Memory loss occurs when;
1) There’s too much data
2) Triggers occur too fast
3) Lost in translation of the interface (i.e. Conversion ratios become exponential)
4) Prophecy
Memory
Accessing information (picture) from the right brain hemisphere is called a ‘photographic memory’. Should this cease we lose our train of thought, and this is memory loss. Short term memory loss is when your cerebral cortex (in our right brain hemisphere) is misfiring at an expediated rate. For the rate to be too high, the transfer of information between right brain-hemisphere to the left brain-hemisphere is corrupted. By losing our ability to have memory, breakdown of affinity occurs. This is memory loss. Long term memory loss, in extreme, is amnesia. Memory loss in extreme severity is alzeimer’s and is usually when someone suffers permanent short term memory loss.
When a person loses the ability to have a continuance of imagination and is controlled, they lose their affinity and this is synonomous to losing their train of thought. Once someone enters psycho-somatic state (sub-conscious) without continuance it leads to night terror (nightmares). This is when your affinity (epiphanies) is boosted to maintain memory. E.C.T is the final treatment in combating accelerated rate, as an accelerated (or too slow) a rate leads to disorientation (confusion).
A computer carries with it firewalls to counter a misfiring of information. Once these firewalls are broken, memory in continuance in Random Operating Memory can be altered. This is permanent memory loss, or amnesia.
Analog – Representation of the human mind, body, and spirit
Search engines’ on the internet take the digital representation of the Analog domain (representation of representation essentially) by using Analog to Digital converters, Sample and hold circuitry, and Digital to Analog converters. This makes a person a computer character (a cyborg). Fiber-optics transfers this man-made character from communication device to communication device. By using the integer 0, or absolute zero (-273 degrees Centigrade, or -454 degrees Fahrenheit) – a chronological, chrynological state, the image is transferred through an input/output module. At this point the signal is quantified, interpolated, translated, encrypted, translated once again, defined – also known as the Gist. In ultimate terms this is considered an analogy or Legend. Here in lye’s the problem. A software is controlled by firewalls, essentially Centurion – rules (some have speculated to be the Matrix). This is why we have Interfaces, incubators for our babies to condition our young to be aware of reality. Industrial Espionage sometimes occurs and this is what we see in terms of politics (political science). Market Research (Market Sharing), National Security (Intelligence Community), and accessing our Cerebral Cortex – our imagination (affinity to the Lord), allowing us to tell the truth.
Technology (Parts Two - Five) - By Moses
Five of Five
Neve Input/Output Module – Also known as a Channel/Network
Invented by Rupert Neve est.1930
Mic Pre-Amp
Bus
Phantom Power – +47 Volts
Auxiliaries 1 and 2
Auxiliaries 3 and 4
Auxiliaries 5 and 6 (Headphone Mix)
Parametric Equalization (High Range 2khz-20kHz) - with Q-Margin
Parametric Equalization (Mid-High Range 400hz-2kHz) – with Q-Margin A.K.A trajectory
Parametric Equalization (Low-Mid Range 100hz-400Hz) with Q-Margin A.K.A trajectory.
Parametric Equalization (Low Range 12hz-100Hz) with Q-Margin A.K.A trajectory
Pan Pot – Left and Right
Channel Pot (Amplification) - Source
Switch
Monitor Fader- (Monitor-interpretation of Energy Source A.K.A Satellite)
In the movie E.T, Spielberg displays how a frequency can be transmitted from earth to other parts of the known Universe (many Galaxies). A received frequency is an antennae a monitoring device. In one of Spielberg’s earlier movies, Close Encounters of the Third Kind, music is the common language of communication between Alien life and Human life. Music in its most pristine form is synthesis of sound (or Specific, quantified frequencies- otherwise known as algorithms) transmitted from source to monitor (receptor-antennae). This is transference.
Microphones
This transference is done through microphones. A microphone picks up a signal and transmits it with colorization of sound then it amplifies the signal to a recording device, or a signal processing unit (commonly referred to as mixers and effects units). Common microphones include Ribbon, Dynamic, and Condenser (with a 47 volt boost known as phantom power).
Within each microphone there are several properties;
Polar Patterns – Cardioids, Hyper-Cardioids, Omni-Directional, Bi-directional, and Unidirectional
Spider – the size of the diaphragm inside the microphone, otherwise known as the capacity of the input of the microphone
Pickup – the sensitivity of the microphone, the dynamic range of the microphone
The Protocol Used – XLR, Quarter Inch, Eighth Inch, RCA
Signal Processing Units and Mixers
An effects unit is used in conjunction with a mixer to colorize the sound of the input before the recording (the output). An effects unit is synonymous to a signal processing unit as is a mixer. A mixer takes in signals from the microphone panel and processes all effects units with respect to the microphone signal path. The final mix-down is done into 2-channels left and right and recorded onto 2-track. Feeds from the mixing board almost always carry more than 2-tracks and this entails recording the mix-down onto a larger recording device, 8-Track (Tascam DA88, or Alesis A-DAT), 24-Track (studio recordings-Sony MPX, Westar, Neotek, SSL, Neve), 192-Track (for movies- Neve Capricorn) etc.
The signal path from the microphone to the recording device is as follows;
Microphone output – Microphone Panel – Channel -Phantom Power (if it’s a Condenser Microphone) – Microphone Pre-Amplification – Bus (to Assigned Channel) - Effects Unit (Reverb) – Outboard Gear (Compressor) – Equalization - Master Channels Left and Right – 2-Track Studer, and 24-Track Master.
Each channel line uses low-capacitance, enhancing the signal on recording (depth perception, reverb, special time, tube amplifiers). Each channel is processed left and right and are mastered onto one channel (the amplifier), otherwise known as Mono. An old Neve Strip comes to mind when I think of great signal processors (otherwise known as an amplifier – Variable Gain Amplifiers / V.G.A).
Monitors
There are three types of Monitors; Near-fields, Mid-fields, and Far-fields.
1) Near-Fields – The smallest drums of the three. They usually have only one crossover point separating the input signal above to the tweeds and below to the bass drum. They’re almost always used in control rooms of studios to gage high frequency response as the saying is; should your mix-down sound good on a near-field you’re going to get a good sound on anything.
Invented by Rupert Neve est.1930
Mic Pre-Amp
Bus
Phantom Power – +47 Volts
Auxiliaries 1 and 2
Auxiliaries 3 and 4
Auxiliaries 5 and 6 (Headphone Mix)
Parametric Equalization (High Range 2khz-20kHz) - with Q-Margin
Parametric Equalization (Mid-High Range 400hz-2kHz) – with Q-Margin A.K.A trajectory
Parametric Equalization (Low-Mid Range 100hz-400Hz) with Q-Margin A.K.A trajectory.
Parametric Equalization (Low Range 12hz-100Hz) with Q-Margin A.K.A trajectory
Pan Pot – Left and Right
Channel Pot (Amplification) - Source
Switch
Monitor Fader- (Monitor-interpretation of Energy Source A.K.A Satellite)
In the movie E.T, Spielberg displays how a frequency can be transmitted from earth to other parts of the known Universe (many Galaxies). A received frequency is an antennae a monitoring device. In one of Spielberg’s earlier movies, Close Encounters of the Third Kind, music is the common language of communication between Alien life and Human life. Music in its most pristine form is synthesis of sound (or Specific, quantified frequencies- otherwise known as algorithms) transmitted from source to monitor (receptor-antennae). This is transference.
Microphones
This transference is done through microphones. A microphone picks up a signal and transmits it with colorization of sound then it amplifies the signal to a recording device, or a signal processing unit (commonly referred to as mixers and effects units). Common microphones include Ribbon, Dynamic, and Condenser (with a 47 volt boost known as phantom power).
Within each microphone there are several properties;
Polar Patterns – Cardioids, Hyper-Cardioids, Omni-Directional, Bi-directional, and Unidirectional
Spider – the size of the diaphragm inside the microphone, otherwise known as the capacity of the input of the microphone
Pickup – the sensitivity of the microphone, the dynamic range of the microphone
The Protocol Used – XLR, Quarter Inch, Eighth Inch, RCA
Signal Processing Units and Mixers
An effects unit is used in conjunction with a mixer to colorize the sound of the input before the recording (the output). An effects unit is synonymous to a signal processing unit as is a mixer. A mixer takes in signals from the microphone panel and processes all effects units with respect to the microphone signal path. The final mix-down is done into 2-channels left and right and recorded onto 2-track. Feeds from the mixing board almost always carry more than 2-tracks and this entails recording the mix-down onto a larger recording device, 8-Track (Tascam DA88, or Alesis A-DAT), 24-Track (studio recordings-Sony MPX, Westar, Neotek, SSL, Neve), 192-Track (for movies- Neve Capricorn) etc.
The signal path from the microphone to the recording device is as follows;
Microphone output – Microphone Panel – Channel -Phantom Power (if it’s a Condenser Microphone) – Microphone Pre-Amplification – Bus (to Assigned Channel) - Effects Unit (Reverb) – Outboard Gear (Compressor) – Equalization - Master Channels Left and Right – 2-Track Studer, and 24-Track Master.
Each channel line uses low-capacitance, enhancing the signal on recording (depth perception, reverb, special time, tube amplifiers). Each channel is processed left and right and are mastered onto one channel (the amplifier), otherwise known as Mono. An old Neve Strip comes to mind when I think of great signal processors (otherwise known as an amplifier – Variable Gain Amplifiers / V.G.A).
Monitors
There are three types of Monitors; Near-fields, Mid-fields, and Far-fields.
1) Near-Fields – The smallest drums of the three. They usually have only one crossover point separating the input signal above to the tweeds and below to the bass drum. They’re almost always used in control rooms of studios to gage high frequency response as the saying is; should your mix-down sound good on a near-field you’re going to get a good sound on anything.
2) Mid-fields – The mid-field monitor usually has only one
crossover point similar to a near-field, however, the bass drum is
usually twice as large as a near-field (8 inches compared to 4 inches).
They are used mainly for studio performance in the control room to gage
the low-end of the mix-down. They’re sometimes used in live sound in
very small venues.
3) Farfields - The far-field is almost always used
in live venues as they’re capable of booming at the highest amplitude
compared to the other monitors. They usually have 2 crossover points;
tweeds (high frequencies, a bass drum, and a sub-woofer (a bass drum
that is 16 inches or more).
Solar Flares
This is an expected electrical storm in and around 2011. Within every satellite around the globe they collect and transmit energy from the sun as a monitor – into source. There is much speculation whether solar flares will obliterate every satellite feed in the years 2011-2012. This will result in every communication device carrying a ground hub as backup to every current ground hub backup essentially making our communications Worldwide UHF/VHF (or Short Wave) from optical (in other words back to analog using copper capacitance) within every ground feed. Currently the largest network in place is owned by Abbey Road and Disney Studio’s.
Interface Design
Channel to Channel – Web Conferencing that is software based also known as simultaneous broadcasting.
Solar Flares
This is an expected electrical storm in and around 2011. Within every satellite around the globe they collect and transmit energy from the sun as a monitor – into source. There is much speculation whether solar flares will obliterate every satellite feed in the years 2011-2012. This will result in every communication device carrying a ground hub as backup to every current ground hub backup essentially making our communications Worldwide UHF/VHF (or Short Wave) from optical (in other words back to analog using copper capacitance) within every ground feed. Currently the largest network in place is owned by Abbey Road and Disney Studio’s.
Interface Design
Channel to Channel – Web Conferencing that is software based also known as simultaneous broadcasting.
Search
Engine to Search Engine – Input/Output module to the Master
Input/Output module is the best analogy. In other words you mix down 24
channels down to left and right.
Intranet to Intranet – One company accessing the files of another company and vice-versa (considered to be a Local Area Network).
Intranet to Internet – This is when a Local Area Network is tied to a Wide Area Network (a.k.a. the internet).
Internet to Internet – One Wide Area Network tied to another Wide Area Network. Each Wide Area Network incorporates unlimited channel splitters to accommodate growth.
It is at the point of there being more than one Internet that information is multiplexed by a Governing body to be indiscriminant of absolute truth and to allow for unbiased communication Worldwide. Accountability is also promoted in this context. For example, one internet might incorporate free long distance to their customers while another internet might promote free Cable service. Likewise, an internet that contains elements of misinformation would be less desired than an internet that had higher standards for their users.
Transponders
In 1985 Citroen, (a French Auto-Manufacturer), carried a software base in the steering wheel with a G.P.S tracking device inserted for the purpose of future infrastructure (either by Ground or by Air). It
Intranet to Intranet – One company accessing the files of another company and vice-versa (considered to be a Local Area Network).
Intranet to Internet – This is when a Local Area Network is tied to a Wide Area Network (a.k.a. the internet).
Internet to Internet – One Wide Area Network tied to another Wide Area Network. Each Wide Area Network incorporates unlimited channel splitters to accommodate growth.
It is at the point of there being more than one Internet that information is multiplexed by a Governing body to be indiscriminant of absolute truth and to allow for unbiased communication Worldwide. Accountability is also promoted in this context. For example, one internet might incorporate free long distance to their customers while another internet might promote free Cable service. Likewise, an internet that contains elements of misinformation would be less desired than an internet that had higher standards for their users.
Transponders
In 1985 Citroen, (a French Auto-Manufacturer), carried a software base in the steering wheel with a G.P.S tracking device inserted for the purpose of future infrastructure (either by Ground or by Air). It
implemented
transponders for guidance and tracking of all motorized vehicles that
carried this technology. This would mean that every vehicle with a G.P.S
tracking device would be monitored and tracked by transponders over a
relegated land.
The issue we see today is how far apart they must be placed. Separated by a minimum to minimize any and all feedback (distortion of signal), and by a maximum to prevent any and all loss of signal. Essentially this could take us to the point of every vehicle traveling above ground level as space in the future would be imperative.
Transformers, Algorithms, and Synthesis
The connecting of the dots sort of speak. Taking one algorithm and connecting it to another
algorithm by using the practice of reverse polarization (silicon – crystal tolerance), A.K.A as
Phase shift (or normalization – the premise of opposites attract by Sir Isaac Newton) in the digital domain – defined ions and the relationships with each-other. This is synonymous to a child playing with LEGO or building blocks. By creating connections from one algorithm to the next a picture takes place, and this is the basis of synthesis. Digital Editing Software include;
Pro-Tools by Digidesign
Sound-forge by Sonic Solutions (Sony)
Cu-base by Steinberg
Sonar by Cakewalk (I.B.M)
Sound Designer by Apple
Incorporating guard-bands, algorithms, envelopes, and filtering in converting sound into synthesis allows for an exact, precise measurement of Temporal and Spacial Time. This in its’ purest form is absolute zero (the gist). It is also known as a chronological event (legend), or chronicles – interpretations of events (documentation) / interpolation – Jedi.
Examples of synthesis (specific designs);
Moog
Oberheim
Hammond
Saw Tooth Waves
Triangle Waves
Sin Waves
Co-Sin Waves (reverse polarization in relation to a Sin Wave)
Square Waves
Each form of synthesis has its’ own set of guard-bands, algorithms, envelopes, and filtering.
Each transformer has its own circuitry and is interfaced systematically from transformer to transformer (and in the digital domain incorporates a transference using crystal tolerance -as precise as can be, to preserve data transfer through each resister component using Pulse Code Modulators in order to transfer digital information from the source to its’ monitors). In the old days (back in the 60’s) the highest level of tolerance used on resistors was Gold, and it’s still used in electronic designs for vintage productions.
Just an analogy;
Now you know everything. Will you wake up tomorrow?
The truth is that no-one will ever know everything. The Creator of the Universe has all the information in the World, and, all the Money in the World. She told me so. The Creator of the Universe uses 384 bit technology and she doesn’t want everyone to know everything she knows.
20-bit isn’t that bad.
The issue we see today is how far apart they must be placed. Separated by a minimum to minimize any and all feedback (distortion of signal), and by a maximum to prevent any and all loss of signal. Essentially this could take us to the point of every vehicle traveling above ground level as space in the future would be imperative.
Transformers, Algorithms, and Synthesis
The connecting of the dots sort of speak. Taking one algorithm and connecting it to another
algorithm by using the practice of reverse polarization (silicon – crystal tolerance), A.K.A as
Phase shift (or normalization – the premise of opposites attract by Sir Isaac Newton) in the digital domain – defined ions and the relationships with each-other. This is synonymous to a child playing with LEGO or building blocks. By creating connections from one algorithm to the next a picture takes place, and this is the basis of synthesis. Digital Editing Software include;
Pro-Tools by Digidesign
Sound-forge by Sonic Solutions (Sony)
Cu-base by Steinberg
Sonar by Cakewalk (I.B.M)
Sound Designer by Apple
Incorporating guard-bands, algorithms, envelopes, and filtering in converting sound into synthesis allows for an exact, precise measurement of Temporal and Spacial Time. This in its’ purest form is absolute zero (the gist). It is also known as a chronological event (legend), or chronicles – interpretations of events (documentation) / interpolation – Jedi.
Examples of synthesis (specific designs);
Moog
Oberheim
Hammond
Saw Tooth Waves
Triangle Waves
Sin Waves
Co-Sin Waves (reverse polarization in relation to a Sin Wave)
Square Waves
Each form of synthesis has its’ own set of guard-bands, algorithms, envelopes, and filtering.
Each transformer has its own circuitry and is interfaced systematically from transformer to transformer (and in the digital domain incorporates a transference using crystal tolerance -as precise as can be, to preserve data transfer through each resister component using Pulse Code Modulators in order to transfer digital information from the source to its’ monitors). In the old days (back in the 60’s) the highest level of tolerance used on resistors was Gold, and it’s still used in electronic designs for vintage productions.
Just an analogy;
Now you know everything. Will you wake up tomorrow?
The truth is that no-one will ever know everything. The Creator of the Universe has all the information in the World, and, all the Money in the World. She told me so. The Creator of the Universe uses 384 bit technology and she doesn’t want everyone to know everything she knows.
20-bit isn’t that bad.
Friday, November 21, 2014
Greatest Basketball Players of All-Time - by Moses
50 Greatest Basketball Players of All-Time
By Stacey Goldman (a.k.a Moses)
Wilt Chamberlain
Michael Jordan
Magic Johnson
Bill Russell
Kareem Abdul-Jabbar
Julius Erving (Dr. J)
Oscar Robertson
Hakeem Olawjuwan
Elgin Baylor
Isaiah Thomas
Kobe Bryant
Lebron James
David Robinson
Shaquille O’Neil
Tim Duncan
Larry Bird
Kevin Garnett
Steve Nash
Dwayne Wade
Charles Barkley
Moses Malone
James Worthy
Dirk Niwitzki
Scottie Pippin
Bob Cousy
Karl Malone
Clyde Drexler
Dominique Wilkins
Joe Dumars
Jerry West
Paul Pierce
Tracy McGrady
Alonzo Mourning
Chris Bosh
Ben Wallace
Meadowlark Lemon
Jason Kidd
Amare Stoudamire
Reggie Miller
Walt Frazier
Willis Reed
Patrick Ewing
Vince Carter
Bob McAdoo
Allen Iverson
Ray Allen
Bob Petit
Alex English
David Thompson
Carmelo Anthony
John Stockton
Rick Barry
By Stacey Goldman (a.k.a Moses)
Wilt Chamberlain
Michael Jordan
Magic Johnson
Bill Russell
Kareem Abdul-Jabbar
Julius Erving (Dr. J)
Oscar Robertson
Hakeem Olawjuwan
Elgin Baylor
Isaiah Thomas
Kobe Bryant
Lebron James
David Robinson
Shaquille O’Neil
Tim Duncan
Larry Bird
Kevin Garnett
Steve Nash
Dwayne Wade
Charles Barkley
Moses Malone
James Worthy
Dirk Niwitzki
Scottie Pippin
Bob Cousy
Karl Malone
Clyde Drexler
Dominique Wilkins
Joe Dumars
Jerry West
Paul Pierce
Tracy McGrady
Alonzo Mourning
Chris Bosh
Ben Wallace
Meadowlark Lemon
Jason Kidd
Amare Stoudamire
Reggie Miller
Walt Frazier
Willis Reed
Patrick Ewing
Vince Carter
Bob McAdoo
Allen Iverson
Ray Allen
Bob Petit
Alex English
David Thompson
Carmelo Anthony
John Stockton
Rick Barry
Technology - A Five Part Series - By Moses
Technology (Part One of Five)
Computers – i) Apple ii) Internal Business Machines (I.B.M) iii) Hewlett Packard iv) Olivetti v) N.C.R (Bank Machines – Wide Area Network).
Microphones- i) Ribbon ii) Dynamic iii) Condenser – Polar Patterns in reference to all three.
Camera’s – i) Analog ii) Digital
Automotives - refer to article in Pop-Culture
Planes – i) Boeing 747, 767 ii) Mirage iii) F-16/17/18 iv) C-16 v) Concorde vi) Cesna vii) MIG
Trains – i) Bombardier ii)Go-Train iii) C.N Rail (Canadian National) iv) Via Rail v) Amtrak
Radar – Tracking – Satellites
Cable – i) Ground (Copper) ii) Fiber-optics-Satellite iii) Standard frequency – i.e. 900Mega-Hertz – Cellular.
The internet vs. singular workstations
Fuel – i) Solar ii) Electric iii) Hydrogen iv) Wind v) Fossil vi) Nuclear
A/C – D/C – Alternating Current – Direct Current
A.M (Amplitude Modulation) and F.M (Frequency Modulation)
Source – Monitors (also known as an Input / Output Module) – a channel
Electronic Principles and Digital Circuitry A.K.A Silicon
Computers
There are 9 characters in a byte. One byte sequence is binary, and follows the sequence 1, 2, 4, 8, etc. This is called pulse code modulation, and other pulse codes such as pulse width, pulse number, and pulse positional are considered to be modulation or synthesis – osmosis (change).
In binary the sequence is as follows; 1 is on, 0 is off
The least significant bit is the bit to the furthest right. i.e. – 10100(1- least significant bit)
The most significant bit is the bit to the furthest left. i.e. – (1)01001
The binary word is a list of on and offs. i.e. - 101100101 – the bit rate is the number of bits in the binary word.
To calculate the value of the binary word simply, from right to left, add each bit together. The sequence of a binary word is as follows; 1, 2, 4, 8, 16, 32, 64…
To calculate; 101001101 – bit rate is 9
256+64+8+4+1 = 333 x 9
Therefore the binary word has 2997 characters
Computers and Communication
An exchange of information from one data bank to another whereupon a data bank can be a disk, a hard-drive, a software application, or random access memory. A disk stores information. With a disk you put it into a drive and the hard-drive (random operating memory) stores it. The hard-drive then retrieves this information by using its’ random access memory. The disk in this configuration is the master device.
A hard-drive uses both R.O.M, and R.A.M. Operating memory is information stored and access memory is retrieved information.
Software applications are platforms used to store and retrieve information. Essentially, the concept of software includes hardware, as in order to access any information from a computer you’re retrieving this information from your R.O.M (which is a software application – internal to the hard-drive). Each independent digital workstation is a search engine. To copyright it makes it a legal commodity. Software applications access these stations through a Local Area Network and to a Wide Area Network, the intranet in the Private sector and the internet in the Public sector. For a company to burn D.V.D’s (Digital Video Encoding Drives) for the masses outside copyright means that they have the right to affect the storage medium, test frequencies, also known as propagate – influence.
Video Games
In 1971 home computers were introduced at a 2-bit rate, 3 kilobytes, is 27,000 characters and the video game Pong was released. Today, when two-bit is used the least significant bit is the indicator as to whether the machine is on or off at 1 and 0 (a switch), and the most significant bit is the total number of characters, undefined by specification.
In 1975, the technology changes towards a format in 4-bit, 15 kilobytes, is 135,000 characters and we saw Atari – Space Invaders and Galaxian, video games that were put in Arcades for the Public. These video games taught intolerance towards aliens, anyone outside their ways. People that played the game in an arcade had to stand as the game was designed for this purpose.
In 1977, Atari, Commodore, Apple, I.B.M, Coleco-Vision introduced 7-bit, also known as 64K, or 127 kilobytes, is 1,143,000 characters. They were Home Systems using conceptual video games such as Donkey Kong and Zapper designed to teach a person to fight paranoia (while sitting on a couch).
In 1983, Arcades introduced the Video Game Dragon’s Lair. This was the first virtual reality Video Game on the Market in the Arcades. It promoted the idealism of making choices. If you made the wrong choice you died. Virtual Reality is reality – A persons’ vision.
In 1987, Nintendo and Sega Home Systems surfaced and the number of conceptual video games are now so ever-changing that one must question what the games are teaching regarding the education of our children.
Significant analogies regarding the properties of Video Games;
1. Game Over – Death
2. Score – Digital representation of the analog domain, the player him/her self
3. Killing – De-sensitization
4. Arcades – Community Hard-drive (Hub)
5. Home Systems – Hubs and interface cards (Cartridges and System-internal software)
6. Software (interface cards) – Hard-drive (circuitry) - Grid
Synopsis
By 1996 the professional application used in post-production technology was 16-bit, or 65,535,000 kilobytes (65,535 megabytes) is 294,913,359,000,000 characters. It operated at 2 gigahertz.
In professional applications today, as of Jan 16th/08, an I-Pod uses 80 Gigabytes of R.O.M at 2 gigahertz, and post- production facilities use 384-bit at 20 gigahertz, a lot of information to account for, at an enormous speed. In 1998, the professional application of Ram was 4 gigabytes, used by Apple, in the name of the Seagate Barracuda (operating at 2 Gigahertz).
In my opinion the professional standard application should be 24-bit, or 16,777,215,000 Kilobytes (16.777215 terabytes), or 16,777,215,000,000 bytes, is 150,994,935,000,000,000 characters (operating at 4 gigahertz). My logic is this; In order for a man or woman to account for more characters than this amount, it will be such an ‘information overload’ that their system will turn to paranoia. In modern day home computers they’re starting to use terabytes. A terabyte is 1 trillion bytes, or, 1,000,000,000,000 bytes or 9,000,000,000,000 characters.
Computers – i) Apple ii) Internal Business Machines (I.B.M) iii) Hewlett Packard iv) Olivetti v) N.C.R (Bank Machines – Wide Area Network).
Microphones- i) Ribbon ii) Dynamic iii) Condenser – Polar Patterns in reference to all three.
Camera’s – i) Analog ii) Digital
Automotives - refer to article in Pop-Culture
Planes – i) Boeing 747, 767 ii) Mirage iii) F-16/17/18 iv) C-16 v) Concorde vi) Cesna vii) MIG
Trains – i) Bombardier ii)Go-Train iii) C.N Rail (Canadian National) iv) Via Rail v) Amtrak
Radar – Tracking – Satellites
Cable – i) Ground (Copper) ii) Fiber-optics-Satellite iii) Standard frequency – i.e. 900Mega-Hertz – Cellular.
The internet vs. singular workstations
Fuel – i) Solar ii) Electric iii) Hydrogen iv) Wind v) Fossil vi) Nuclear
A/C – D/C – Alternating Current – Direct Current
A.M (Amplitude Modulation) and F.M (Frequency Modulation)
Source – Monitors (also known as an Input / Output Module) – a channel
Electronic Principles and Digital Circuitry A.K.A Silicon
Computers
There are 9 characters in a byte. One byte sequence is binary, and follows the sequence 1, 2, 4, 8, etc. This is called pulse code modulation, and other pulse codes such as pulse width, pulse number, and pulse positional are considered to be modulation or synthesis – osmosis (change).
In binary the sequence is as follows; 1 is on, 0 is off
The least significant bit is the bit to the furthest right. i.e. – 10100(1- least significant bit)
The most significant bit is the bit to the furthest left. i.e. – (1)01001
The binary word is a list of on and offs. i.e. - 101100101 – the bit rate is the number of bits in the binary word.
To calculate the value of the binary word simply, from right to left, add each bit together. The sequence of a binary word is as follows; 1, 2, 4, 8, 16, 32, 64…
To calculate; 101001101 – bit rate is 9
256+64+8+4+1 = 333 x 9
Therefore the binary word has 2997 characters
Computers and Communication
An exchange of information from one data bank to another whereupon a data bank can be a disk, a hard-drive, a software application, or random access memory. A disk stores information. With a disk you put it into a drive and the hard-drive (random operating memory) stores it. The hard-drive then retrieves this information by using its’ random access memory. The disk in this configuration is the master device.
A hard-drive uses both R.O.M, and R.A.M. Operating memory is information stored and access memory is retrieved information.
Software applications are platforms used to store and retrieve information. Essentially, the concept of software includes hardware, as in order to access any information from a computer you’re retrieving this information from your R.O.M (which is a software application – internal to the hard-drive). Each independent digital workstation is a search engine. To copyright it makes it a legal commodity. Software applications access these stations through a Local Area Network and to a Wide Area Network, the intranet in the Private sector and the internet in the Public sector. For a company to burn D.V.D’s (Digital Video Encoding Drives) for the masses outside copyright means that they have the right to affect the storage medium, test frequencies, also known as propagate – influence.
Video Games
In 1971 home computers were introduced at a 2-bit rate, 3 kilobytes, is 27,000 characters and the video game Pong was released. Today, when two-bit is used the least significant bit is the indicator as to whether the machine is on or off at 1 and 0 (a switch), and the most significant bit is the total number of characters, undefined by specification.
In 1975, the technology changes towards a format in 4-bit, 15 kilobytes, is 135,000 characters and we saw Atari – Space Invaders and Galaxian, video games that were put in Arcades for the Public. These video games taught intolerance towards aliens, anyone outside their ways. People that played the game in an arcade had to stand as the game was designed for this purpose.
In 1977, Atari, Commodore, Apple, I.B.M, Coleco-Vision introduced 7-bit, also known as 64K, or 127 kilobytes, is 1,143,000 characters. They were Home Systems using conceptual video games such as Donkey Kong and Zapper designed to teach a person to fight paranoia (while sitting on a couch).
In 1983, Arcades introduced the Video Game Dragon’s Lair. This was the first virtual reality Video Game on the Market in the Arcades. It promoted the idealism of making choices. If you made the wrong choice you died. Virtual Reality is reality – A persons’ vision.
In 1987, Nintendo and Sega Home Systems surfaced and the number of conceptual video games are now so ever-changing that one must question what the games are teaching regarding the education of our children.
Significant analogies regarding the properties of Video Games;
1. Game Over – Death
2. Score – Digital representation of the analog domain, the player him/her self
3. Killing – De-sensitization
4. Arcades – Community Hard-drive (Hub)
5. Home Systems – Hubs and interface cards (Cartridges and System-internal software)
6. Software (interface cards) – Hard-drive (circuitry) - Grid
Synopsis
By 1996 the professional application used in post-production technology was 16-bit, or 65,535,000 kilobytes (65,535 megabytes) is 294,913,359,000,000 characters. It operated at 2 gigahertz.
In professional applications today, as of Jan 16th/08, an I-Pod uses 80 Gigabytes of R.O.M at 2 gigahertz, and post- production facilities use 384-bit at 20 gigahertz, a lot of information to account for, at an enormous speed. In 1998, the professional application of Ram was 4 gigabytes, used by Apple, in the name of the Seagate Barracuda (operating at 2 Gigahertz).
In my opinion the professional standard application should be 24-bit, or 16,777,215,000 Kilobytes (16.777215 terabytes), or 16,777,215,000,000 bytes, is 150,994,935,000,000,000 characters (operating at 4 gigahertz). My logic is this; In order for a man or woman to account for more characters than this amount, it will be such an ‘information overload’ that their system will turn to paranoia. In modern day home computers they’re starting to use terabytes. A terabyte is 1 trillion bytes, or, 1,000,000,000,000 bytes or 9,000,000,000,000 characters.
Audio Engineering Principles - by Moses
Audio Engineering Principles
1) dbu vs dbSPL
2) Crossover Points
3) Variable Gain Amplifiers (V.G.A’s)
4) Equalization Sections
5) Band-Pass Filters
6) Monitors
7) Microphones and Mic Polar Patterns
8) Compressors and Limiters
9) Gates and Expanders
10) Reverb, Delay, and the Haas Zone (the Precedence Effect)
1. dbu vs dbSPL
To double your dbu simply raise 3 dbu (+3dbu).
To double your dbSPL you raise 6 dbSPL (+6dbSPL).
dbu is doubled (+3dbu) with each wall/floor/ceiling.
dbSPL is doubled (+6dbSPL) with each wall/floor/ceiling.
dbu refers to the mixers output from the mains (Left and Right) to the multi-track (recording device). Most analog mixers max-out at +6dbu (the good ones max-out at +10dbu). On digital mixers you automatically max-out at 0 dbu.
DbSPL refers to the amplitude of the sound that comes out of the monitors (the speakers). Sound at outdoor concerts and arena concerts usually measure in the 100-120 DbSPL range.
2. Crossover Points
A speaker cabinet with one crossover point is a two-way.
A speaker with two crossover points is a three-way.
A crossover point sends the frequencies above that point (or frequency) to one section of the speaker and frequencies below that point to another section of the speaker cabinet, before amplification.
3. Variable Gain Amplifiers (V.G.A’s)
Saw-Tooth Wave – Gives a saw-tooth pattern to the frequencies and amplifies them.
Triangle Wave – Gives a triangular pattern to the frequencies and amplifies them.
Square Wave– Gives a square-pattern to the frequencies and amplifies them.
Exciters – Are a glorified V.G.A. Boosts certain high-end har0monics.
Flanging, Phasing, Chorusing and Delay are the results of a V.G.A device.
4. Equalization Sections
Parametric Equalization – Carries three qualities:
Frequency (set frequency measured by Hz).
ii) ‘Q’ or Slope (how severe a boost or cut).
Amplification.
Graphic Equalization – Carries two qualities:
A certain number of set frequencies (A 30 Band Graphic E.Q strip has 30 set frequencies – which are measured in Hz).
The dbu (amplification level).
5. Band-Pass Filters (Guard-bands)
High Pass Filters – Allows high frequencies to pass above a certain frequency and cuts those frequencies below that frequency/likewise Amplitude Levels.
Low-Pass Filters – Allows low frequencies to pass below a certain frequency and cuts those frequencies above it/likewise Amplitude Levels.
Filter Designs: 1) Chebeshev, 2) Bessel, 3) Butterworth, 4) Gaussian
Main Supplier: Gemen
6. Monitors
Nearfield – Small monitors used in most control rooms of recording studios (usually NS10’s or Alesis). Gages the mix with high frequency bias.
Midfield – Mid-sized monitors used in many live shows at the Bar/Pub. Has a bigger base drum in the speaker than a nearfield. Typically used as mains in the control room to complement NS10’s (usually Tannoy or J.B.L).
Farfield – Carries the best fidelity of the three. It’s the largest speaker cabinet. Used for outdoor concerts and arena concerts as well. Usually carries a bass drum of a minimum 18’’ and has two crossover points (minimum).
Lesley Cabinet Speaker – A Farfield monitor that plays from a cabinet speaker that goes around and a-around. Is reminiscent of a vinyl player (a phonograph).
7. Microphones and Microphone Polar Patterns
Microphones
Dynamic Microphones – Direct current from the mic into the mic panel (mic in). This enables the mic to the mic-pre-amp for setting the mic level in the channel. Well known dynamic mics include Shure 57’s and 58’s.
Condenser Microphones – Condenser microphones connect to the mic panel (mic in). At the start of the I/O Module you must give Phantom Power to prompt a response from a condenser microphone. You then use the mic-pre-amp to set the level for the channel. Known condenser mic’s include Neumann U87 and U47, AKG 414 and Silver Pencils (made by Sennheiser).
Microphone Polar Patterns
Uni-Directional – Mic takes in from only one direction on the mic.
Bi-Directional – Mic takes in sound from two directions on the mic, usually at opposite sides.
Omni-Directional – Mic takes in sound all around the diameter of the mic.
Cardioid – Heart shaped diameter that is sensitive to the sounds penetrating in the cavity.
Hyper-Cardioid – Instead of being a heart shape there is an oblong piece placed inside a cardiod shape (heart shape – inside the cavity).
8. Compressors and Limiters (Guard-bands)
Compressors take in a certain amplitude (measured in dbu or dbSPL) and outputs at a lower amplitude by ratio.
For example – A 1:1 ratio means that for every 1 db in there is 1 db out.
A 2:1 ratio means that for every 2db-in there is 1db-out.
A 4:1 ratio means that for every 4db-in there is 1db-out.
A limiter is essentially a severe compressor. In other words, it will cut the signal if the amplitude is too loud.
9. Gates and Expanders (Guard-bands)
A gate allows the microphone to be on only above a certain amplitude. For example; If the gate is set at 60dbSPL that means that the microphone won’t be transmitting any signal below 60dbSPL but will transmit any signal 60dbSPL and up.
An expander will take a certain amplitude in and output it at the same or greater level. It works the opposite as a compressor.
A 1:1 ratio means that for every 1dbu-in there is 1dbu-out.
A 1:2 ratio means that for every 1dbu-in there are 2dbu-out.
A 1:4 ratio means that for every 1dbu-in there are 4dbu-out.
10. Reverb, Delay, and the Haas Zone (Precedence Effect)
Reverb – When the channel’s ‘spacial’ intonations are changed. We’re looking at a very subtle change that effects where the music seems to be playing in (whether that be in a cathedral, arena, or amphitheater.
Delay – Echo and Precedence Effect is the result of a sound repeating itself. The Haas Zone (Precedence Effect) – Known to be a subtle delay (anywhere between 5ms – 35ms). In this delay period the sound is played through the one side monitor anywhere between 5ms-35ms after the first side played. This emphasizes the first sound and makes it seem to appear to be the louder of the two sounds, when in actual fact both sounds were at the same level. This is known as ‘precedence effect’.
1) dbu vs dbSPL
2) Crossover Points
3) Variable Gain Amplifiers (V.G.A’s)
4) Equalization Sections
5) Band-Pass Filters
6) Monitors
7) Microphones and Mic Polar Patterns
8) Compressors and Limiters
9) Gates and Expanders
10) Reverb, Delay, and the Haas Zone (the Precedence Effect)
1. dbu vs dbSPL
To double your dbu simply raise 3 dbu (+3dbu).
To double your dbSPL you raise 6 dbSPL (+6dbSPL).
dbu is doubled (+3dbu) with each wall/floor/ceiling.
dbSPL is doubled (+6dbSPL) with each wall/floor/ceiling.
dbu refers to the mixers output from the mains (Left and Right) to the multi-track (recording device). Most analog mixers max-out at +6dbu (the good ones max-out at +10dbu). On digital mixers you automatically max-out at 0 dbu.
DbSPL refers to the amplitude of the sound that comes out of the monitors (the speakers). Sound at outdoor concerts and arena concerts usually measure in the 100-120 DbSPL range.
2. Crossover Points
A speaker cabinet with one crossover point is a two-way.
A speaker with two crossover points is a three-way.
A crossover point sends the frequencies above that point (or frequency) to one section of the speaker and frequencies below that point to another section of the speaker cabinet, before amplification.
3. Variable Gain Amplifiers (V.G.A’s)
Saw-Tooth Wave – Gives a saw-tooth pattern to the frequencies and amplifies them.
Triangle Wave – Gives a triangular pattern to the frequencies and amplifies them.
Square Wave– Gives a square-pattern to the frequencies and amplifies them.
Exciters – Are a glorified V.G.A. Boosts certain high-end har0monics.
Flanging, Phasing, Chorusing and Delay are the results of a V.G.A device.
4. Equalization Sections
Parametric Equalization – Carries three qualities:
Frequency (set frequency measured by Hz).
ii) ‘Q’ or Slope (how severe a boost or cut).
Amplification.
Graphic Equalization – Carries two qualities:
A certain number of set frequencies (A 30 Band Graphic E.Q strip has 30 set frequencies – which are measured in Hz).
The dbu (amplification level).
5. Band-Pass Filters (Guard-bands)
High Pass Filters – Allows high frequencies to pass above a certain frequency and cuts those frequencies below that frequency/likewise Amplitude Levels.
Low-Pass Filters – Allows low frequencies to pass below a certain frequency and cuts those frequencies above it/likewise Amplitude Levels.
Filter Designs: 1) Chebeshev, 2) Bessel, 3) Butterworth, 4) Gaussian
Main Supplier: Gemen
6. Monitors
Nearfield – Small monitors used in most control rooms of recording studios (usually NS10’s or Alesis). Gages the mix with high frequency bias.
Midfield – Mid-sized monitors used in many live shows at the Bar/Pub. Has a bigger base drum in the speaker than a nearfield. Typically used as mains in the control room to complement NS10’s (usually Tannoy or J.B.L).
Farfield – Carries the best fidelity of the three. It’s the largest speaker cabinet. Used for outdoor concerts and arena concerts as well. Usually carries a bass drum of a minimum 18’’ and has two crossover points (minimum).
Lesley Cabinet Speaker – A Farfield monitor that plays from a cabinet speaker that goes around and a-around. Is reminiscent of a vinyl player (a phonograph).
7. Microphones and Microphone Polar Patterns
Microphones
Dynamic Microphones – Direct current from the mic into the mic panel (mic in). This enables the mic to the mic-pre-amp for setting the mic level in the channel. Well known dynamic mics include Shure 57’s and 58’s.
Condenser Microphones – Condenser microphones connect to the mic panel (mic in). At the start of the I/O Module you must give Phantom Power to prompt a response from a condenser microphone. You then use the mic-pre-amp to set the level for the channel. Known condenser mic’s include Neumann U87 and U47, AKG 414 and Silver Pencils (made by Sennheiser).
Microphone Polar Patterns
Uni-Directional – Mic takes in from only one direction on the mic.
Bi-Directional – Mic takes in sound from two directions on the mic, usually at opposite sides.
Omni-Directional – Mic takes in sound all around the diameter of the mic.
Cardioid – Heart shaped diameter that is sensitive to the sounds penetrating in the cavity.
Hyper-Cardioid – Instead of being a heart shape there is an oblong piece placed inside a cardiod shape (heart shape – inside the cavity).
8. Compressors and Limiters (Guard-bands)
Compressors take in a certain amplitude (measured in dbu or dbSPL) and outputs at a lower amplitude by ratio.
For example – A 1:1 ratio means that for every 1 db in there is 1 db out.
A 2:1 ratio means that for every 2db-in there is 1db-out.
A 4:1 ratio means that for every 4db-in there is 1db-out.
A limiter is essentially a severe compressor. In other words, it will cut the signal if the amplitude is too loud.
9. Gates and Expanders (Guard-bands)
A gate allows the microphone to be on only above a certain amplitude. For example; If the gate is set at 60dbSPL that means that the microphone won’t be transmitting any signal below 60dbSPL but will transmit any signal 60dbSPL and up.
An expander will take a certain amplitude in and output it at the same or greater level. It works the opposite as a compressor.
A 1:1 ratio means that for every 1dbu-in there is 1dbu-out.
A 1:2 ratio means that for every 1dbu-in there are 2dbu-out.
A 1:4 ratio means that for every 1dbu-in there are 4dbu-out.
10. Reverb, Delay, and the Haas Zone (Precedence Effect)
Reverb – When the channel’s ‘spacial’ intonations are changed. We’re looking at a very subtle change that effects where the music seems to be playing in (whether that be in a cathedral, arena, or amphitheater.
Delay – Echo and Precedence Effect is the result of a sound repeating itself. The Haas Zone (Precedence Effect) – Known to be a subtle delay (anywhere between 5ms – 35ms). In this delay period the sound is played through the one side monitor anywhere between 5ms-35ms after the first side played. This emphasizes the first sound and makes it seem to appear to be the louder of the two sounds, when in actual fact both sounds were at the same level. This is known as ‘precedence effect’.
Thursday, November 20, 2014
Sportsmen - by Moses Goldman
My Favourite Sportsmen
By Stacey Goldman
Jimmy Connors Tennis
Charlie Conacher NHL
Alex Baumann 200/400 Individual Medley
Tony Dorsett NFL
Randy White NFL
Darryl Sittler NHL
Jimmie Foxx MLB
Jim Rice MLB
Tony Fernandez MLB
Roger Staubach NFL
Ben Johnson 100 Metre Champion
Ken Norton Boxer
Sandy Koufax MLB
Josh Gibson NLB
Matthew Hilton Boxer
Lloyd Moseby MLB
Drew Pearson NFL
Victor Davis 100/200 Breaststroke
Terry Greer CFL
Warren Moon CFL/NFL
Jesse Barfield MLB
Ted Williams MLB
Borje Salming NHL
Emmitt Smith NFL
Danny White NFL
David Ortiz MLB
Barry Bonds MLB
Manny Ramirez MLB
Condredge Holloway CFL
Troy Aikman NFL
Lanny McDonald NHL
Lefty Grove MLB
Wilt Chamberlain Harlem Globetrotters/NBA
Chris Bosh NBA
Wayne Gretzky NHL
Jesse Owens 100 Metre Champion
Satchel Paige NLB/MLB
Mike Palmateer NHL
Sugar Ray Leonard Boxer
Tracy McGrady NBA
Carlton Fisk MLB
Roy Campanella NLB/MLB
Jimmy Key MLB
Dave Stieb MLB
Willie Mays MLB
Michael Jordan NBA
Maurice Richard NHL
Mats Sundin NHL
Bob Cousy NBA
Bill Russell NBA
‘Cool’ Papa Bell NLB
Curly Harlem Globetrotters
By Stacey Goldman
Jimmy Connors Tennis
Charlie Conacher NHL
Alex Baumann 200/400 Individual Medley
Tony Dorsett NFL
Randy White NFL
Darryl Sittler NHL
Jimmie Foxx MLB
Jim Rice MLB
Tony Fernandez MLB
Roger Staubach NFL
Ben Johnson 100 Metre Champion
Ken Norton Boxer
Sandy Koufax MLB
Josh Gibson NLB
Matthew Hilton Boxer
Lloyd Moseby MLB
Drew Pearson NFL
Victor Davis 100/200 Breaststroke
Terry Greer CFL
Warren Moon CFL/NFL
Jesse Barfield MLB
Ted Williams MLB
Borje Salming NHL
Emmitt Smith NFL
Danny White NFL
David Ortiz MLB
Barry Bonds MLB
Manny Ramirez MLB
Condredge Holloway CFL
Troy Aikman NFL
Lanny McDonald NHL
Lefty Grove MLB
Wilt Chamberlain Harlem Globetrotters/NBA
Chris Bosh NBA
Wayne Gretzky NHL
Jesse Owens 100 Metre Champion
Satchel Paige NLB/MLB
Mike Palmateer NHL
Sugar Ray Leonard Boxer
Tracy McGrady NBA
Carlton Fisk MLB
Roy Campanella NLB/MLB
Jimmy Key MLB
Dave Stieb MLB
Willie Mays MLB
Michael Jordan NBA
Maurice Richard NHL
Mats Sundin NHL
Bob Cousy NBA
Bill Russell NBA
‘Cool’ Papa Bell NLB
Curly Harlem Globetrotters
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