Multichannel sound recording system

MonauralMono is an abbreviation of monophonic or monaural. The term has two uses, one in conjunction with spatial (stereo or multichannel surround audio) and anotherin relation to instruments capable of only producing one tone at a time (thehuman voice for example, as opposed to a polyphonic instrument such as a pipeorgan). A single audio source. For example, audio emanating from a singleloudspeaker. Or audio passing through a single wire or connection. Usually usedin contrast to stereo or multichannel. Further reading: audio system which maintains audio in multiple discrete channels. This isusually used to mean more than one (mono) or two (stereo) channels. Forexample, a multichannel speaker system, often used in surround soundreproduction, employs a number of speakers, each fed with a different audiosignal. A multi-channel audio interface supports output of more than two audiosignals. A multi-channel sound file contains more than two audio channels.multitrackA recording or playback system where multiple tracks or channels ofindependent audio are recorded and played back. Often multitrack systems areused in recording studios, where each instrument in a performance is recordedon a separate track -- sometimes multiple tracks are used to capture differentmicrophones capturing a single instrument. Multitrack is different frommultichannel in that a multitrack recording may be (and often is) mixed down tomono or stereo -- in this sense it is a recording technology, whereasmultichannel is usually used to describe a delivery system or a capability todeal with many channels of independent audio. noise gateA noise gate (sometimes just "gate") is an audio processing deviceoriginally

Research Open access Published: 24 March 2014 EURASIP Journal on Audio, Speech, and Music Processing volume 2014, Article number: 10 (2014) Cite this article 3704 Accesses 3 Citations Metrics details AbstractThree-dimensional (3D) audio technologies are booming with the success of 3D video technology. The surge in audio channels makes its huge data unacceptable for transmitting bandwidth and storage media, and the signal compression algorithm for 3D audio systems becomes an important task. This paper investigates the conventional mid/side (M/S) coding method and discusses the signal correlation property of three-dimensional multichannel systems. Then based on the channel triple, a three-channel dependent M/S coding (3D-M/S) method is proposed to reduce interchannel redundancy and corresponding transform matrices are presented. Furthermore, a framework is proposed to enable 3D-M/S compress any number of audio channels. Finally, the masking threshold of the perceptual audio core codec is modified, which guarantees the final coding noise to meet the perceptual threshold constraint of the original channel signals. Objective and subjective tests with panning signals indicate an increase in coding efficiency compared to Independent channel coding and a moderate complexity increase compared to a PCA method. IntroductionRecently, 3D audio has attracted more attention and developed fast following the booming market of 3D movie. Many 3D audio technologies are now introduced into audio-involved applications to replace the surround sound system to provide superior sound localization and an immersive feeling. Wave field synthesis (WFS), Ambisonics and vector-based amplitude panning (VBAP) are the three most well-developed technologies. WFS generally follows Huygens principle to reconstruct the original sound field [1]. Research institutions such as IDMT of Fraunhofer and IRCAM in France have an intensive study in WFS, and attempt to bring WFS into theater and live transmission of concert. Ambisonics utilizes spherical harmonic functions to recording sound field and driving loudspeakers, its loudspeakers have rigorous configuration and give a good sound field reconstruction in the center [2]. VBAP follows the tangent law in a three-dimensional space using three adjacent loudspeakers to form a sound vector. For its simplicity, VBAP is the most common algorithm in 3D signal panning [3]. A 3D system like 22.2 multichannel system proposed by NHK in Japan utilizes VBAP to generate 3D sound image [4]. The 22.2 multichannel system is also included in the developing MPEG-H standard for rendering 3D audio scene.There is a clear trend that 3D audio technology will become mature gradually and replace stereo and surround sound [5]. However, a main and common feature of 3D audio technologies is the great number of sound channels. For instance, WFS system always contains dozens and even hundreds of audio channels. The 22.2 system has three layers and 24 audio channels. Although the Ambisonics system can have flexible order and channel number, it usually uses dozens of channels because fewer channels will cause quality deterioration. Comparing with a two-channel stereo and a 5.1 surround sound, the increasing of audio channel causes a dramatical 3D audio data increase. A report from Fraunhofer shows 37 Mbps is needed for live transmission

SONY SOUND FORGE PRO 10 HOW TO SONY SOUND FORGE PRO 10 PRO Use new precise event-based editing, edit and process musical instrument files, easily edit file metadata, and perform stereo and multichannel file editing and processing. Another main feature is the gigantic set of tools Sound Forge has for adjusting, trimming, cropping, cutting and. Sound Forge Pro 10.0 in Simple Steps helps you learn Sound Forge, a leading application developed by Sony for sound editing. It has a built-in recording tool allowing for quick and efficient setup of recording options, adjusting the software to the hardware available. Highly customizable sound editing software for Windows. Sony Sound Forge is, basically, the Swiss Army Knife for audio. SONY SOUND FORGE PRO 10 HOW TO * Channel converter for multichannel filesĪccurately monitor audio levels using VU meters for RMS playback and recording, use the record timer and threshold-based recording for various tasks, and use new performance optimizations for improved speed and productivity. Sound Forge Pro app for Windows 10 Learn how to download and install the Sound Forge Pro 13.0 Build 131 (32-bit) application on your Windows 10 PC for free. Sound Forge Pro latest version: State-of-the-Art Professional Audio Editing Software for Desktop Computers. It seems that about every two years Sony releases a new version of Sound. * Wet/dry mix and crossfade options for effects Use integrated disc-at-once CD burning, analyze and process audio, remove noise and restore audio, perform pristine audio time stretching, and master audio with over 20 DirectX audio effects and the Mastering Effects Bundle 2, powered by iZotope. workflow that will help you achieve a professional, polished sound. * Media explorer with automatic previewing Mastering Music: 10 Hidden Features in Ozone Pro. With high-resolution 24-bit/192 kHz audio support for the ultimate in audio fidelity, along with a fully customizable user interface and workflow enhancements, Sound Forge Pro 10 software is the tool of choice for audio and multimedia professionals. Sound Forge software is everything you need to analyze, record, and edit audio, produce music loops, digitize and clean-up old recordings, model acoustic environments, create streaming media, and master replication-ready CDs. Acclaimed for its power, stability, and no-nonsense interface, it's the fastest way to get from raw audio to finished master. Sound Forge software is the tool of choice for media professionals who want to create and edit digital audio files with speed and absolute precision.

In making this selection. To test your hard drive(s) for their audio capabilities select the Test Audio Performance option from the Action menu. This will test your system and give you its findings on the digital audio recording capabilities. To reapply this benchmark with another drive revisit the Audio dialog and change the path of the “Audio Temp Directory” to another drive, D:\temp for instance. Then select Test Audio Performance from the Action menu again and note the difference in the estimated number of tracks for each drive. Audio performance benchmark results.Setup for Multiple Sound Cards or Multi –Port Audio Cards RealBand has the ability to input and output tracks of digital audio through separate channels of multiple sound cards or multiple ports of a multichannel card. If your computer system has multiple sound cards, or if you have a multiple channel audio card, you can configure RealBand for digital audio production through a mixer or other multi-channel system such as the front and rear speakers of a surround sound setup. To configure for multiple sound cards choose the [Drivers] button from the Audio dialog to bring up the Audio Drivers dialog.Choose the input and output digital audio devices that you want to use. Note: The Microsoft Sound Mapper driver option refers to the default Windows sound card setup as configured in the Windows Control Panel.In the Tracks window you can choose which sound card to output each track of audio on by clicking on the track type icon and

Audition User Guide Introduction What's new in Adobe Audition Audition system requirements Finding and customizing shortcuts Applying effects in the Multitrack Editor Known issues Workspace and setup Control surface support Viewing, zooming, and navigating audio Customizing workspaces Connecting to audio hardware in Audition Customizing and saving application settings Perform Mic Check (Beta) Digital audio fundamentals Understanding sound Digitizing audio Importing, recording, and playing Multichannel audio workflow Create, open, or import files in Adobe Audition Importing with the Files panel Extracting audio from CDs Supported import formats Navigate time and playing audio in Adobe Audition Recording audio Monitoring recording and playback levels Remove silences from your audio recordings Editing audio files Edit, repair, and improve audio using Essential Sound panel Session Markers and Clip Marker for Multitrack Generating text-to-speech Matching loudness across multiple audio files Displaying audio in the Waveform Editor Selecting audio How to copy, cut, paste, and delete audio in Audition Visually fading and changing amplitude Working with markers Inverting, reversing, and silencing audio How to automate common tasks in Audition Analyze phase, frequency, and amplitude with Audition Frequency Band Splitter Undo, redo, and history Converting sample types Creating podcasts using Audition Applying effects Enabling CEP extensions Effects controls Applying effects in the Waveform Editor Applying effects in the Multitrack Editor Adding third party plugins Notch Filter effect Fade and Gain Envelope effects (Waveform Editor only) Manual Pitch Correction effect (Waveform Editor only) Graphic Phase Shifter effect Doppler Shifter effect (Waveform Editor only) Effects reference Apply amplitude and compression

Its 3D-M/S signals (right). The sound source moves from A to B, B to C and C to A shown in Figure 3. When sound source is close to the center of two channels, transformed signal C T has less dynamic range with corresponding matrix M 1 , M 2 , and M 3 .Full size image V 0 , V 1 V 0 V 1 ≥ Thr v (6) This is an equivalent expression to the energy condition. It indicates that only when the input signal vector is close enough to the summation vector of a M/S transform matrix, this matrix will be used. This idea will be helpful when later discussing the 3D-M/S coding where more than one transform matrix exists. Here, Thr v is the corresponding switching threshold of Thr in vectorial distance and Thr v = 2 2 1 1 + 10 Thr 10 + 1 1 + 10 - Thr 10 (7) M/S coding in three-dimensional spaceFor diffuse audio sources like ambient sound, the multichannel signals are weakly correlated. For directional audio sources, the signals are highly correlated which make it possible to reduce the interchannel redundancy. To maintain the stability of the sound image, in a stereo and surround audio system, the virtual source is always being panned or recorded by the two most adjacent channels. So two adjacent channels always have the maximum similarity, and M/S coding and parametric coding are performed based on a two-channel unit. But for Ambisonics, VBAP and 22.2 multichannel systems, sound channels are spherically configured in 3D space as shown in Figure 3. In a VBAP system, three adjacent channels form a directional sound image and have the maximum correlation. In other 3D systems such as Ambisonics, three channels cover a basic area of 3D space and adjacent three channels also have the most similar signals [31]. If the multichannel signals are still grouped and compressed on the channel pair basis, like Ando et al. recent work for coding 22.2 multichannel signals with the AAC codec [32], there will be more than one adjacent channel for each channel. It will require extra computation to select the channel pair but may still lead to a possible to mismatch. For example, in Figure 3, channel C1, C2 and C3 formed a virtual source. If C1 and C2 were grouped for parametric or M/S coding, C3 would be grouped with another less correlated channels, which decreases the coding performance. And if we dynamically group the signals, we have to use complex correlation analysis algorithm to analyze its six adjacent channels. Because the channel pair grouping is based on frequency subbands, it will not only increase the codec complexity dramatically but will also be unable to reduce the overall redundancy that exist in more than two channels. In brief, the conventional channel pair unit should be redesigned for 3D audio systems.Figure 3The 22.2 multichannel 3D audio system. A loudspeaker configuration of the 22.2 multichannel system on the sphere surface in 3D space