MOTIV Digital Microphones and Recording Solutions Brochure
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Digital Audio Basics
INTRODUCTION TO DIGITAL AUDIO This updated guide has been adapted from the full article at http://www.itrainonline.org to incorporate new hardware and software terms. Types of audio files There are two most important parameters you will be thinking about when working with digital audio: sound quality and audio file size. Sound quality will be your major concern if you want to broadcast your programme on FM. Incidentally, the size of an audio file influences your computer performance – big audio files take up a lot of hard disc space and use a lot of processor power when played back. These two parameters are interdependent – the better the sound quality, the bigger the file size, which was a big challenge for those who needed to produce small audio files, but didn’t want to compromise the sound quality. That is why people and companies tried to create digital formats that would maintain the quality of the original audio, while reducing its size. Which brings us to the most common audio formats you will come across: wav and MP3. wav files Wav files are proprietary Microsoft format and are probably the simplest of the common formats for storing audio samples. Unlike MP3 and other compressed formats, wavs store samples "in the raw" where no pre-processing is required other that formatting of the data. Therefore, because they store raw audio, their size can be many megabytes, and much bigger than MP3. The quality of a wav file maintains the quality of the original. Which means that if an interview is recorded in the high sound quality, the wav file will be also high quality. -
MINIDISC MANUAL V3.0E Table of Contents
MINIDISC MANUAL V3.0E Table of Contents Introduction . 1 1. The MiniDisc System 1.1. The Features . 2 1.2. What it is and How it Works . 3 1.3. Serial Copy Management System . 8 1.4. Additional Features of the Premastered MD . 8 2. The production process of the premastered MD 2.1. MD Production . 9 2.2. MD Components . 10 3. Input components specification 3.1. Sound Carrier Specifications . 12 3.2. Additional TOC Data / Character Information . 17 3.3. Label-, Artwork- and Print Films . 19 3.4. MiniDisc Logo . 23 4. Sony DADC Austria AG 4.1. The Company . 25 5. Appendix Form Sheets Introduction T he quick random access of Compact Disc players has become a necessity for music lovers. The high quality of digital sound is now the norm. The future of personal audio must meet the above criteria and more. That’s why Sony has created the MiniDisc, a revolutionary evolution in the field of digital audio based on an advanced miniature optical disc. The MD offers consumers the quick random access, durability and high sound quality of optical media, as well as superb compactness, shock- resistant portability and recordability. In short, the MD format has been created to meet the needs of personal music entertainment in the future. Based on a dazzling array of new technologies, the MiniDisc offers a new lifestyle in personal audio enjoyment. The Features 1. The MiniDisc System 1.1. The Features With the MiniDisc, Sony has created a revolutionary optical disc. It offers all the features that music fans have been waiting for. -
AW2400 Owner's Manual
Owner’s Manual EN FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS devices. Compliance with FCC regulations does not guar- UNIT! antee that interference will not occur in all installations. If This product, when installed as indicated in the instruc- this product is found to be the source of interference, tions contained in this manual, meets FCC requirements. which can be determined by turning the unit “OFF” and Modifications not expressly approved by Yamaha may “ON”, please try to eliminate the problem by using one of void your authority, granted by the FCC, to use the prod- the following measures: uct. Relocate either this product or the device that is being 2. IMPORTANT: When connecting this product to acces- affected by the interference. sories and/or another product use only high quality Utilize power outlets that are on different branch (circuit shielded cables. Cable/s supplied with this product MUST breaker or fuse) circuits or install AC line filter/s. be used. Follow all installation instructions. Failure to fol- In the case of radio or TV interference, relocate/reorient low instructions could void your FCC authorization to use the antenna. If the antenna lead-in is 300 ohm ribbon this product in the USA. lead, change the lead-in to co-axial type cable. 3. NOTE: This product has been tested and found to com- If these corrective measures do not produce satisfactory ply with the requirements listed in FCC Regulations, Part results, please contact the local retailer authorized to dis- 15 for Class “B” digital devices. -
An Review of Fully Digital Audio Class D Amplifiers Topologies Rémy Cellier, Gaël Pillonnet, Angelo Nagari, Nacer Abouchi
An review of fully digital audio class D amplifiers topologies Rémy Cellier, Gaël Pillonnet, Angelo Nagari, Nacer Abouchi To cite this version: Rémy Cellier, Gaël Pillonnet, Angelo Nagari, Nacer Abouchi. An review of fully digital audio class D amplifiers topologies. IEEE North-East Workshop on Circuits and Systems, IEEE, 2009, Toulouse, France. pp.4, 10.1109/NEWCAS.2009.5290459. hal-01103684 HAL Id: hal-01103684 https://hal.archives-ouvertes.fr/hal-01103684 Submitted on 15 Jan 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. An Review of Fully Digital Audio Class D Amplifiers topologies Rémy Cellier 1,2 , Gaël Pillonnet 1, Angelo Nagari 2 and Nacer Abouchi 1 1: Institut des Nanotechnologie de Lyon – CPE Lyon, 43 bd du 11 novembre 1918, 69100 Villeurbanne, France, [email protected], [email protected], [email protected] 2: STMicroelectronics Wireless, 12 rue Paul Horowitz, 38000 Grenoble, France, [email protected], [email protected] Abstract – Class D Amplifiers are widely used in portable realized. Finally control solutions are proposed to increase the systems such as mobile phones to achieve high efficiency. This linearity of such systems and to correct errors introduced by paper presents topologies of full digital class D amplifiers in order the power stage. -
MZ-R501\3234036131MZR501UCE\01COV- MZR501UCE\00GB01COV-CED.Fm] Masterpage:Right
filename[\\Ww001\WW001\ON GOING\MZ-R501\3234036131MZR501UCE\01COV- MZR501UCE\00GB01COV-CED.fm] masterpage:Right 00GB01COV-CED.fm Page 1 Monday, November 5, 2001 1:37 PM 3-234-036-13(1) Portable MiniDisc Recorder Operating Instructions WALKMAN and are trademarks of Sony Corporation. MZ-R501/R501PC/R501DPC © 2001 Sony Corporation model name1[MZ-R501/R501PC/R501DPC] model name2[MZ-----] [3-234-036-13(1)] Certain countries may regulate disposal of WARNING battery used to power this product. To prevent fire or shock hazard, do Please consult with your local authority. not expose the unit to rain or moisture. For customers in the USA To avoid electrical shock, do not Owner’s Record open the cabinet. Refer servicing to The serial number is located at the rear of qualified personnel only. the disc compartment lid and the model number is located at the top and bottom. Do not install the appliance in a Record the serial number in the space confined space, such as a bookcase or provided below. Refer to them whenever you call upon your Sony dealer regarding built-in cabinet. this product. Model No. To prevent fire, do not cover the Serial No. ventilation of the apparatus with news papers, table cloths, curtains, etc. And This equipment has been tested and found don’t place lighted candles on the to comply with the limits for a Class B apparatus. digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to To prevent fire or shock hazard, do not provide reasonable protection against place objects filled with liquids, such as harmful interference in a residential vases, on the apparatus. -
The Present Saclantcen Equipment for the Digital Recording of Multichannel Broadband Acoustic Signals, Their Edition and Their Transfer to a Digital Computer
THE PRESENT SACLANTCEN EQUIPMENT FOR THE DIGITAL RECORDING OF MULTICHANNEL BROADBAND ACOUSTIC SIGNALS, THEIR EDITION AND THEIR TRANSFER TO A DIGITAL COMPUTER by A. Barbagelata SACLANT ASW Research Centre La Spezia, Italy For more than one year, the Sound Propagation Group has been using this equipment successfully for digital acquisition and analysis of sea trial data. This complete system can be considered to consist of three parts . 1, The five-channel high-density digital recording system. 2. The edit system. 3. The data transfer system. The whole of this equipment was designed and built ln our laboratory (except the AI D converters and the tape recorder), using micrologic cards for digital circuits and operational amplifiers for analogue devices. Sound Propagation Group 1 s preference for digital recording can be clearly understood considering the main points in our analysis technique: a. The study of the impulse response of the medium through the use of explosive charges requires a high dynamic range more than 60 dB with bandwidths from a few hertz up to 15 kHz - 20 kHz. b. Power spectrum measurements require an accurate time ,base, especially for high frequency resolution. c. Cross-correlation measurements require a constant time delay between the signals to be correlated. When recording i n analogue form in the FM mode, even with precise adjustment of the recording level, the dynamic range is around 40 dB. 7 Furthermore the tape speed is not constant (flutter) and the time delay between two signals is not constant, owing to the angular movement of the tape (skew) . In our system, which digitizes during the experiment and records onto magnetic tape in digital form, all these dificulties are overcome , because the dynamic and accuracy of the time base no longer depend on the tape recorder, but on the pre eding electronics, and the time delay fluctuations between signals can be completely compensated. -
Chapter 3: "Transferring Vinyl Lps (And Other Legacy Media) To
3 TRANSFERRINGVINYLLPS(AND OTHERLEGACYMEDIA)TOCD A great way to preserve and enjoy old recordings is to transfer them from any legacy medium—vinyl LPs, cassette tapes, reel-to-reel tapes, vintage 78s, videocassettes, even eight-track tapes—to CD. Or you can transfer them to a hard drive, solid-state drive, or whatever digital storage medium you prefer. Transferring phonograph records to CD is in demand, and you might even be able to get a nice sideline going doing this. A lot of people are still hanging on to their record collections but are afraid to enjoy them because LPs are fragile. A lot of great albums have never been released on commer- cial CDs, or the modern CD remasters are not done well. Some people sim- ply prefer the sound of their old records. Although you can copy any analog media and convert it to any digital audio format, in this chapter we’ll talk mostly about transferring vinyl record albums and singles to CDs. Once you have converted your old analog media to a digital format, Audacity has a number of tools for cleaning up the sound quality. You may not always be able to perform perfect restorations, but you can reduce hiss, clicks, pops, and other defects to quite tolerable levels. You can also customize dynamic range compression to suit your own needs, which is a nice thing because on modern popular CDs, dynamic range com- pression is abused to where it spoils the music. Even if they did it well, it might not be right for you, so Audacity lets you do it your way. -
Chapter 10 • Digital Audio Recording Devices And
Chapter 10 1 Digital Audio Recording Devices and Media section page 1001 Definitions ................................................274 1002 Incorporation of copying controls ..............................276 1003 Obligation to make royalty payments ...........................277 1004 Royalty payments . 278 1005 Deposit of royalty payments and deduction of expenses . 279 1006 Entitlement to royalty payments . 279 1007 Procedures for distributing royalty payments . 281 1008 Prohibition on certain infringement actions ......................282 1009 Civil remedies ..............................................282 1010 Determination of certain disputes . 284 § 1001 Digital Audio Recording Devices and Media subchapter a — defiNitioNs § 1001 · Definitions As used in this chapter, the following terms have the following meanings: (1) A “digital audio copied recording” is a reproduction in a digital re- cording format of a digital musical recording, whether that reproduction is made directly from another digital musical recording or indirectly from a transmission. (2) A “digital audio interface device” is any machine or device that is de- signed specifically to communicate digital audio information and related interface data to a digital audio recording device through a nonprofessional interface. (3) A “digital audio recording device” is any machine or device of a type commonly distributed to individuals for use by individuals, whether or not included with or as part of some other machine or device, the digital record- ing function of which is designed or marketed for the primary purpose of, and that is capable of, making a digital audio copied recording for private use, except for— (A) professional model products, and (B) dictation machines, answering machines, and other audio record- ing equipment that is designed and marketed primarily for the creation of sound recordings resulting from the fixation of nonmusical sounds. -
Compact Disc Minidisc Deck
4-245-486-12(1) Compact Disc MiniDisc Deck Operating Instructions MXD-D400 ©2003 Sony Corporation Owner’s Record WARNING The model and serial numbers are located on the rear of the unit. Record the serial number in the space To prevent fire or shock hazard, do not provided below. Refer to them whenever you call upon expose the unit to rain or moisture. your Sony dealer regarding this product. To prevent fire, do not cover the ventilation of the Model No. MXD-D400 Seral No. apparatus with news papers, table-cloths, curtains, etc. And don’t place lighted candles on the apparatus. Caution To prevent fire or shock hazard, do not place objects The use of optical instruments with this product will filled with liquids, such as vases, on the apparatus increase eye hazard. This appliance is WARNING classified as a CLASS 1 This equipment has been tested and found to comply LASER product. This with the limits for a Class B digital device, pursuant to label is located on the Part 15 of the FCC Rules. These limits are designed to rear exterior. provide reasonable protection against harmful interference in a residential installation. This The following caution label is located inside the equipment generates, uses, and can radiate radio apparatus. frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: – Reorient or relocate the receiving antenna. -
“Knowing Is Seeing”: the Digital Audio Workstation and the Visualization of Sound
“KNOWING IS SEEING”: THE DIGITAL AUDIO WORKSTATION AND THE VISUALIZATION OF SOUND IAN MACCHIUSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO September 2017 © Ian Macchiusi, 2017 ii Abstract The computer’s visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW- based composition in popular music styles, many artists’ sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually- based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apple’s OS and Microsoft’s Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a user’s interaction with the GUI is usually structured in the same manner—clicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers. iii Dedication To Ba, Dadas and Mary, for all your love and support. iv Table of Contents Abstract .................................................................................................................. -
Magneto-Optical Recording Systems
10.3 MiniDisc 10.3.1 Introduction and Features of the MiniDisc System The MiniDisc (MD) system, developed by Sony, offers both digital sound and random access features. In addition to these features, the following three types of MiniDiscs have been developed for various applications: Section 10.3 MiniDisc 401 Figure 10.19 Probability of each error length. i Error length (byte) 1. Playback-only MiniDisc for prerecorded music; 2. Recordable MiniDisc allowing up to 74 minutes of recording time; and 3. Hybrid MiniDisc, a combination with premastered and recordable areas. The intrinsic recording technology supporting the recordable MiniDisc is the magnetic field direct overwrite method, applied to a consumer product for the first time in the world. The distinctive features of the MiniDisc are 1. Overwrite function: 2. Maximum 74 min. recording time on a disk only 64mm in diameter, achieved using data compression and high-density recording; 3. Quick random access supported by address information in the wobbled groove; and 4. Disk protection with the cartridge and shutter. Read process Verify process Write process Media production Figure 10.20 Defect management strategies. 402 Chapter 10 Magneto-Optical Recording Systems Moreover, durability and reliability for the recordable MiniDisc have already been proven with data storage media for computer peripherals, such as the magneto optical disk. Figure 10.21 shows the various MD systems. 10.3.2 System Concept and Specifications The specifications of the compact disc (CD) were first proposed in 1982, and are described in the so-called “Red Book.” Since then, the technological developments for both data and recording applications have been specified in the “Yellow Book” and “Orange Book,” respectively. -
Digital Audio Standards
Digital Audio Standards MINUTES OF THE MEETING OF THE DIGITAL would consider the possibility of using the 45-kHz fre- AUDIO STANDARDS COMMITTEE quency proposed by Heaslett. 1.5 Mr. Willcocks gave the available technical details of Date: 1977 December 1 und 2 some 14 presently-used digital audio systems. He sub- Time: 1830 hours sequently prepared a report containing this information for Place: Snowbird Resort, Salt Lake City, Utah distribution to the committee (see page 56). 1.6 Several members expressed the urgency for sampling Present: Chairman, John G. McKnight (Magnetic Refer- frequency standardization because of the number of digital ence Laboratory); members, Stanley Becker (Scully/ audio recording systems- both studio and consumer Dictaphone); Gregory Boganz (RCA Records); Vic Goh types- now nearing completion and commercial availa- (Victor Company of Japan (JVC)); Thomas Hay (MCI, bility. Inc .); Alastair Heaslett (Ampex Corporation); M. Carlos Kennedy (Ampex Corporation); William Kinghom (Telex 1.7 The committee was unable to find an acceptable single Communications); K. Kimihira (Akai America); Masahiro frequency, given the conflicting requirements of the pres- Kosaka (Wireless Research Lab, Matsushita Elect. Inc. ent TV-compatible proposal, the 3M studio recorder, and Co.); Alfred H. Moris (3M Company); Thomas G. Stoc- the Japanese consumer recorders. The committee asked kham, Jr. (Soundstream, Inc.); Martin Willcocks Messrs. Heaslett, Youngquist and Kosaka each to prepare (Willcocks Research Consultants); James V. White (CBS a report giving details explaining why they chose the Technology Center); Yoshito Yamagudi (Melco Sales Inc. frequency they did, and what penalties the other frequen- Mitsubishi Electric Corp.); Robert J. Youngquist (3M cies discussed would entail.