November, 2013

Protecting Digital Files: Part IV

In looking at the various protection schemes that the music industry and the RIAA have tried over the history of physical optical discs, it’s pretty clear that they’ve been unable to stop illegal copying. No big [...]

Protecting Digital Audio: Part III

Content Scrambling System (CSS) is the copy protection scheme adopted by the DVD Forum to secure Hollywood’s content on DVD-Video discs. It uses an encryption method for the data on DVD discs AND “key” files on [...]

Protecting Digital Audio: Part II

The major labels and their industry trade group the RIAA have been very aggressive in combating the wholesale theft of music since the first digital systems were introduced in 1982. We explored one of the first [...]

Protecting Digital Audio: Part I

Based on the responses I got to yesterday’s post on the HDACC by Essence and the value of having an HDMI digital input/output on your external DAC, I thought I would drill a little further into [...]

HDMI DACs and Pure Audio Blu-ray

I noticed an announcement of the High Def Audio Control Center by Essense this past week. The sales and marketing director of Essence, Bob Rapoport, reached out to me some weeks back and described what their [...]

Showcasing HRA at CES 2014

It’s coming…again. The folks at the Consumer Electronics Association announced “the Hi-Res Audio Experience, a new TechZone featured at the upcoming 2014 International CES. I can’t help but be amused that the name of the [...]

Getting Past The Noise

Yesterday’s post about dither was really a few paragraphs about a type of noise and the methods that designers have come up with to combat it. In the case of dither, I explained that we actually [...]

Dither: Is It Still Needed?

In the world of PCM digital audio, we have sampling rates and word lengths. The sampling rate establishes the highest recordable frequency thanks to the Nyquist Theorem and greater work lengths provide increased dynamic range. Then [...]

Presence: Good or Bad?

For about a year back in the 1980’s, I worked as a “boom man” for production sound mixer Mike Denecke (aka “Father Time”, the late inventor of the timecode slate among other clever film industry devices). [...]

The Significance of Musical Tone

I’ve received a lot of email regarding yesterday’s post on the use of multiple close up microphones as opposed to the tried and true methodologies used by most engineers when capturing a classical ensemble. There are [...]