Saturday, November 22, 2014

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.
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.
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 
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.

Technology (Part Four) - by Moses


Technology (Part Three) - By Moses


Technology - Part 2 (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.

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