Do You Know How Many Different CD Formats Are Available Today? It's Impressive the Number!

By John Cooper

Let's write a short summary about this great technology (CD) that changed the technological world in first years of 1980.

First we talk about CD-Text, an extension of the Red Book specification for audio CD that allows for storage of additional text information on a standards-compliant audio CD. The information is stored either in the lead-in area of the CD, where there is roughly five kilobytes of space available, or in the subcode channels R to W on the disc, which can store about 31 megabytes.

Then there is the CD + Graphics, a special audio Compact Disc that contains graphics data in addition to the audio data on the disc. The disc can be played on a regular audio CD player, but when played on a special CD+G player, can output a graphics signal.

These graphics are almost exclusively used to display lyrics on a television set for karaoke performers to sing along with. The CD+G format takes advantage of the channels R through W.

The CD + Extended Graphics is an improved variant of the Compact Disc + Graphics (CD+G) format. Like CD+G, CD+EG utilizes basic CD-ROM features to display text and video information in addition to the music being played. This extra data is stored in subcode channels R-W. Very few, if any, CD+EG discs have been published.

The Super Audio CD is a high-resolution read-only optical audio disc format that provides much higher fidelity digital audio reproduction than the Red Book. Introduced in 1999, it was developed by Sony and Philips, the same companies that created the Red Book. SACD was in a format war with DVD-Audio, but neither has replaced audio CDs.

In contrast to DVD-Audio, the SACD format has the feature of being able to produce hybrid discs; these discs contain the SACD audio stream as well as a standard audio CD layer which is playable in standard CD players, thus making them backward compatible. - 32518

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Digital Technology In Audio Mastering, Still A Good Solution?

By John Cooper

In the 1990s, electro-mechanical processes were largely superseded by digital technology, with digital recordings transferred to digital masters by an optical etching process that employs laser technology.

The digital audio workstation (DAW) became common in many mastering facilities, allowing the off-line manipulation of recorded audio via a graphical user interface (GUI). Although many digital processing tools are common during mastering, it is also very common to use analog media and processing equipment for the mastering stage.

Just as in other areas of audio, the benefits and drawbacks of digital technology compared to analog technology is still a matter of debate. However, in the field of audio mastering, the debate is usually over the use of digital versus analog signal processing rather than the use of digital technology for storage of audio.

There are mastering engineers who feel that digital technology, has not progressed enough in quality to supersede analog technology entirely. Many top mastering studios still embrace analog signal processing (such as analog equalization) within the mastering process. Additionally, the latest advances in analog mastering technology include 120V signal rails for previously unavailable headroom of 150dB as well as frequency response ranging from 3 Hz to 300 kHz.

In order to duplicate this frequency response in digital domain, a sampling rate of at least 600 kHz would be required. However, it is pertinent that the extremes in these frequency ranges (3 Hz to 19 Hz and 21 kHz to 300 kHz) are effectively inaudible and only existing outside the range of both the human ear and most professional microphones.

Considering this, we can say that while analog is the best solution for "absolute" quality, digital is the best solution for "practical" quality, and that DAWs will be the future of any kind of Studio, small or big and for any kind of project. - 32518

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High Audio Class Using The Blue Microphones Snowball USB Microphone Bundle

By Rich Rowland

The Blue Microphones Snowball USB Microphone Bundle offers great balance between aesthetics and functions, perfect for aspiring musicians and podcasters. Its USB input makes sure that you are up and running in no time - thanks to its plug and play function. And with different bundles that may come together with the microphone, you are sure to get one that fits your needs.

Blue microphones have always been known for excellent audio quality without compromising the design. The Snowball perhaps is one of the most popular ones because of its USB input. It has that retro feel to it, perfectly combining its sphere shape with a complementary color palette.

Depending on where you'd buy, there are various bundles that are available with the Snowball. The podcasting bundles typically contains some wind screens, pop filters and even tripods. This allows podcasters and even musicians to record their voices clearly and brilliantly, without the pops and the clicks. In addition, it also makes it easy to adjust the height and the position of the Snowball to be in perfect level with you.

For the musicians and the songwriters, using the Blue Microphones Snowball USB Microphone Bundle can also be great. The cute sphere design on top of the tripod allows you to turn it around easily, let it focus on one source or place it anywhere. You may choose from three recording modes available, depending on your preferences and usage: omni-directional, cardioid 10dB cut and cardioid.

The omni-directional setting picks up sounds from all directions, allowing your Blue Snowball to capture the audio all around it. This is helpful for those who need to acquire that particular need, like a live band. It can also simulate a surround sound feel, allowing sounds to be captured from all possible directions and with the feeling of 'being there.'

For all recordings of voices, the cardioid mode is the best one. Your voice overs, song vocals and even your pod casts are sure to be on their highest fidelity possible with this mode as it only picks up audio signals from the front. You can easily focus the sound from one source so it doesn't sound surrounded. Blue's promise of giving you brilliant quality would always be there when you sing or speak.

For loud instruments, put your Snowball on the cardioid mode with a 10dB cut. This removes or lessens the sound distortion which may happen for loud sources, letting you have high audio fidelity without compromising quality. Record loud instruments easily while keeping them at their highest possible fidelity, and never sounding distorted.

The unique design of the Blue snowball makes it a favorite for audio enthusiasts. It is very functional, and yet quite stylish at the same time. It is also available in 3 colors: textured white, gloss black and brushed aluminum so you have choices upon buying. And with different things that may come with it, the Blue Microphones Snowball USB Microphone Bundle can surely be your best friend in recording and pod casting. - 32518

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Multi-Track Mixer Basics.

By Thomas Goldman

Here you will read about choosing the most suitable multi-track mixer for your needs as well as what multi-track mixers do and how to buy and use one.

Multi-track mixers are designed for two main purposes. The most common purpose is to record and mix a recording in a "recording studio" environment. The second purpose is to mix multiple signals to send to the PA system for live use on stage. A powered mixer includes power amps for live use. Different types of audio mixer are designed for these two different purposes although there is not a huge difference. A DJ mixer is a lot more different and not very suitable for either recording or live use.

A multi-track mixer is an audio mixer designed to mix sound from a multi-track recorder, i.e. an audio recording device designed to record more than just a mono or stereo signal . . . a signal which has at least 3 separate tracks simultaneously. So the mixer will have more than three separate channels.

To choose the most suitable one for your needs, first look at what audio recording device you have. If you don't have one of those yet, look at how many audio channels you might want to record simultaneously. For example, if you will be using it to record a band, think how many instruments play simultaneously in that band. Keep in mind that to record a drum set (drum kit) well you will need a separate microphone for each drum. Also keyboards typically have a stereo signal (so that's 2 channels). The mixer you choose should have at least as many channels as that of your audio recorder.

If you need to record all the instruments simultaneously, then your mixer also needs as many outputs as you're the number of instruments. These outputs are usually provided as "groups" although for recording, each aux send can also be used as an output (unless it is used for effects while recording, such as providing some reverb on a vocal). If the groups are stereo, the pan setting will determine which side of the group output the signal goes to i.e. one stereo group can be used as 2 mono outputs or one stereo output. - 32518

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