As the NHL season is weeks away, there is some heated debate as to whether the NHL (National Hockey League) will recognize the former WHA (World Hockey Association) equally, with respect to players' statistics. The implications are very relevant when considering that both Gordie Howe and Bobby Hull were breadwinners in both Leagues. It may seem trivial, however, many Hockey players will either be remembered or never heard from again on this premise. Let's not forget that Anders Hedberg once scored 70 Goals in one season in the WHA (4 consecutive 50+ goal seasons), and Real Cloutier scored 75 Goals in one campaign (3 60+ goals seasons and four consecutive 56+ goals campaigns) These players are not exactly household names, yet were stars in the now defunct WHA. Bobby Hull scored 77 in a WHA campaign, and when including his WHA totals he amassed 913 Goals (9 - 50 goal seasons, and 17 consecutive 30+ Goal years in both Leagues). Gordie Howe scored 975 Goals in both Leagues, yet his mark of 786 NHL tallies is the statistic that most hockey fans remember today.
What would happen if future players join a European NHL, accredited as a North American NHL equal. How would a sports historian view the players' accomplishments in relation to eachother? The idea of setting an equal playing ground was supposed to take shape through the advent of the WHA. In the globalization of sport it is paramount to recognize accomplishments based on skill, and if a player in the WHA is forgotten, whose to say this won't stand true of a European NHL down the road. What would have happened had the Nazi's defeated the Allied forces in WW2? Would Jesse Owens be remembered, or would he have been scricken from the record books and filed away in denial, with the documentation destroyed? History has a funny way of selectively remembering what reality was, to the victor goes the spoils. Should I be a Hockey fan in the year 2050, will I have been ingrained on the accomplishments of Anders Hedberg, Ulf Nilsson, Robbie Ftorek, Marc Tardif and Real Cloutier amongst NHL heroes? or will history decide in passivity to ignore these superstars because they were ahead of their time.
Tuesday, September 21, 2010
Thursday, September 16, 2010
Test Tape - by Moses
As everyone in the Professional Audio world knows, when using D.A.T recorders Super 8 Tape is the standard. As is all analog 2 inch tape. What this means is that there is a singular manufacturer reaping the benefits of practically all the recording artists works. With a competitive de-regulated marketplace it will soon become common for new test tapes designed in the digital realm, prohibiting this monopoly standard.
It was in 1982 that Fuji Film hit the North American market. It was considered by many to be a revolutionary product. However, as time has told, the format has moved to digital, and these analog products are now considered vintage (picture a cassette tape on VCR-VHS or Beta Tape). The projections are calling for new industry standards, and that is where a fine line has been set in the ground. No longer will Sony have a monopoly on what hits the airwaves. I vividly remember that in 1982 my Dad's company Greisman and Son rejected an offer from Sony, to distribute their products through them. It came down to Market share. The general consensus was that Sony was too greedy and had some questionable business practises. It is now 2010 and Sony has the original patent of C.D and D.V.D players/recorders, as well as the Seagate Barracuda (the first multi-channel processing C.P.U). As the patents have run out we will now see technological breakthroughs that will in all likelihood enable a home to self automate at a fraction of today's price. In laymen terms this means that should a person want to communicate with 1 million homes on a secure telecommunications system (some would say satellite feed with it's own hub), the C.P.U behind it all (similar to owning Bell Canada 30 years ago) will be affordable to pretty much the 'working Joe'.
In terms of what is being offered today, relative to a five year forecast, is very simple. We will have the technology in place to harness Electronic Control Units within each home, essentially automating our every technological product from a main hub within the home, as well as every communication device within it's network with practically zero upgrades necessary, at a fraction of today's prices. In essence, unless Sony has diversified outside the technological world, they will become a dinosaur to what they're known to be today financially. Even Bill Gates estate (which operates with the highest of all technologies, as a tax write-off in his books), will essentially be worth pennies of what we saw just 5 years ago.
To take a page out of Einstein's Theory of Relativity, should 100 million people buy a product at $100/unit, how does this compare to 2 billion people buying the same unit for $5 with a replicate backup. This would lead to a Global Dollar.
Take for example a Commodore 64, compare it to a Dell 40 gig hardrive at 2.6 Ghz with 8 Megabytes of RAM, and then compare both with a future 20 Terabyte Hardrive with 16 ultra sonic processing channels within it's C.P.U operating at 40 Ghz with 2 Terabytes of RAM.
It was in 1982 that Fuji Film hit the North American market. It was considered by many to be a revolutionary product. However, as time has told, the format has moved to digital, and these analog products are now considered vintage (picture a cassette tape on VCR-VHS or Beta Tape). The projections are calling for new industry standards, and that is where a fine line has been set in the ground. No longer will Sony have a monopoly on what hits the airwaves. I vividly remember that in 1982 my Dad's company Greisman and Son rejected an offer from Sony, to distribute their products through them. It came down to Market share. The general consensus was that Sony was too greedy and had some questionable business practises. It is now 2010 and Sony has the original patent of C.D and D.V.D players/recorders, as well as the Seagate Barracuda (the first multi-channel processing C.P.U). As the patents have run out we will now see technological breakthroughs that will in all likelihood enable a home to self automate at a fraction of today's price. In laymen terms this means that should a person want to communicate with 1 million homes on a secure telecommunications system (some would say satellite feed with it's own hub), the C.P.U behind it all (similar to owning Bell Canada 30 years ago) will be affordable to pretty much the 'working Joe'.
In terms of what is being offered today, relative to a five year forecast, is very simple. We will have the technology in place to harness Electronic Control Units within each home, essentially automating our every technological product from a main hub within the home, as well as every communication device within it's network with practically zero upgrades necessary, at a fraction of today's prices. In essence, unless Sony has diversified outside the technological world, they will become a dinosaur to what they're known to be today financially. Even Bill Gates estate (which operates with the highest of all technologies, as a tax write-off in his books), will essentially be worth pennies of what we saw just 5 years ago.
To take a page out of Einstein's Theory of Relativity, should 100 million people buy a product at $100/unit, how does this compare to 2 billion people buying the same unit for $5 with a replicate backup. This would lead to a Global Dollar.
Take for example a Commodore 64, compare it to a Dell 40 gig hardrive at 2.6 Ghz with 8 Megabytes of RAM, and then compare both with a future 20 Terabyte Hardrive with 16 ultra sonic processing channels within it's C.P.U operating at 40 Ghz with 2 Terabytes of RAM.
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)
i) Saw-Tooth Wave – Gives a saw-tooth pattern to the frequencies and amplifies them.
ii) Triangle Wave – Gives a triangular pattern to the frequencies and amplifies them.
iii) Square Wave– Gives a square-pattern to the frequencies and amplifies them.
iv) Exciters – Are a glorified V.G.A. Boosts certain high-end harmonics.
v) Flanging, Phasing, Chorusing and Delay are the results of a V.G.A device.
4. Equalization Sections
Parametric Equalization – Carries three qualities:
i) Frequency (set frequency measured by Hz).
ii) ‘Q’ or Slope (the angle within which a cut or boost is made)
ii) Amplification (how severe a boost or cut).
Graphic Equalization – Carries two qualities:
i) A certain number of set frequencies (A 30 Band Graphic E.Q strip has 30 set frequencies – which are measured in Hz).
ii) The dbu (amplification level).
5. Band-Pass Filters (Guard-bands)
i) High Pass Filters – Allows high frequencies to pass above a certain frequency and cuts those frequencies below that frequency/likewise Amplitude Levels.
ii) Low-Pass Filters – Allows low frequencies to pass below a certain frequency and cuts those frequencies above it/likewise Amplitude Levels.
iii) Filter Designs: 1) Chebeshev, 2) Bessel, 3) Butterworth, 4) Gaussian
iv) 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
i) 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.
ii) 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
i) Uni-Directional – Mic takes in from only one direction on the mic.
ii) Bi-Directional – Mic takes in sound from two directions on the mic, usually at opposite sides.
iii) Omni-Directional – Mic takes in sound all around the diameter of the mic.
iv) Cardioid – Heart shaped diameter that is sensitive to the sounds penetrating in the cavity.
v) 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)
i) 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.
ii) Delay – Echo, which is the result of a sound repeating itself.
iii) 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)
i) Saw-Tooth Wave – Gives a saw-tooth pattern to the frequencies and amplifies them.
ii) Triangle Wave – Gives a triangular pattern to the frequencies and amplifies them.
iii) Square Wave– Gives a square-pattern to the frequencies and amplifies them.
iv) Exciters – Are a glorified V.G.A. Boosts certain high-end harmonics.
v) Flanging, Phasing, Chorusing and Delay are the results of a V.G.A device.
4. Equalization Sections
Parametric Equalization – Carries three qualities:
i) Frequency (set frequency measured by Hz).
ii) ‘Q’ or Slope (the angle within which a cut or boost is made)
ii) Amplification (how severe a boost or cut).
Graphic Equalization – Carries two qualities:
i) A certain number of set frequencies (A 30 Band Graphic E.Q strip has 30 set frequencies – which are measured in Hz).
ii) The dbu (amplification level).
5. Band-Pass Filters (Guard-bands)
i) High Pass Filters – Allows high frequencies to pass above a certain frequency and cuts those frequencies below that frequency/likewise Amplitude Levels.
ii) Low-Pass Filters – Allows low frequencies to pass below a certain frequency and cuts those frequencies above it/likewise Amplitude Levels.
iii) Filter Designs: 1) Chebeshev, 2) Bessel, 3) Butterworth, 4) Gaussian
iv) 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
i) 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.
ii) 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
i) Uni-Directional – Mic takes in from only one direction on the mic.
ii) Bi-Directional – Mic takes in sound from two directions on the mic, usually at opposite sides.
iii) Omni-Directional – Mic takes in sound all around the diameter of the mic.
iv) Cardioid – Heart shaped diameter that is sensitive to the sounds penetrating in the cavity.
v) 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)
i) 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.
ii) Delay – Echo, which is the result of a sound repeating itself.
iii) 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’.
Camps - By Moses
By nature, a Summer Camp encompasses children of many denominations, and is governed by commitee. For example, in Canada, most Summer Camps are multi-cultural and have these principles in place. However, as recent as 30 years ago in Ontario, Canada most Summer Camps segregated their 'Black' population from going to Summer Camps north of Toronto. It was also known that to be Jewish, was not acceptable in some Summer Camps in Ontario. During and around this time began the inception of Northlands and B'nai Brith Summer Camps (exclusively Jewish clientele). Since we're in 2010 we seem to have turned the corner in societal predudices, and therefore have no need for segregated Summer Camps. Keep in mind that once the snowball effect takes shape, we'll have segregated Christian, Muslim, Jewish, Hindu, Buddhist, and 'Black' Summer Camps (Christian summer camps started the ball rolling). With tensions arising from the anniversary of the 9/11 attacks, can we really afford to feed the frenzy of gentrification among these race issues?
In Israel, the concept behind Kibbutziim is to promote multi-culturalism within a Jewish State. While there may be 500 full-time residents on a Kibbutz, each Kibbutz (similar to a Farm/Camp - with families living amongst the confines) draws volunteers from around the World. This is to show equality towards all Nations.
A Summer Camp in Southern, Ontario, Canada is inherently different than a Kibbutz in the Negev, Israel, as the populous has different multi-cultural elements. However, the sentiments are exactly the same. To show equality towards each denomination is essentially to show equality to each Nation. We may see different ergonomics pertaining to the immigration of Canada and Israel. It is paramount though to not disciminate with respect to the people within your Nation. For example within Southern Ontario there are large Chinese and Black populations. To discriminate these people from a summer camp is ludacris and obtuse. The same argument would hold true of a Kibbutz in Israel. Discriminating against taking in volunteers from Sweden, or Japan for that matter would cause an uproar. We should be moving towards Worldwide passports in todays' age. It would stand to reason that in ten years time to be Lebanese-Israeli or Lebanese-Palestinian will occur, breaking down the barriers of a gentrified Nation and further promoting equality towards all Nations. What do we tell the children when they ask, is that person of Arabic descent my equal?
In Israel, the concept behind Kibbutziim is to promote multi-culturalism within a Jewish State. While there may be 500 full-time residents on a Kibbutz, each Kibbutz (similar to a Farm/Camp - with families living amongst the confines) draws volunteers from around the World. This is to show equality towards all Nations.
A Summer Camp in Southern, Ontario, Canada is inherently different than a Kibbutz in the Negev, Israel, as the populous has different multi-cultural elements. However, the sentiments are exactly the same. To show equality towards each denomination is essentially to show equality to each Nation. We may see different ergonomics pertaining to the immigration of Canada and Israel. It is paramount though to not disciminate with respect to the people within your Nation. For example within Southern Ontario there are large Chinese and Black populations. To discriminate these people from a summer camp is ludacris and obtuse. The same argument would hold true of a Kibbutz in Israel. Discriminating against taking in volunteers from Sweden, or Japan for that matter would cause an uproar. We should be moving towards Worldwide passports in todays' age. It would stand to reason that in ten years time to be Lebanese-Israeli or Lebanese-Palestinian will occur, breaking down the barriers of a gentrified Nation and further promoting equality towards all Nations. What do we tell the children when they ask, is that person of Arabic descent my equal?
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