101 Sentences With "digital recordings" | Random Sentence Generator

"It was the first synthesizer that played back digital recordings of musical instruments," he said.

A second judicial source added that authorities had obtained a total of three gigabytes of digital recordings.

It can record live audio and computer playback, and even convert tapes and records into digital recordings or CDs.

Spotify also has a deal with Music and Entertainment Rights Licensing Independent Network (Merlin) for digital recordings from independent labels.

What does this tell you about the impact of digital recordings on your memories in general: How distinct is your memory?

When digital recordings became standard in the 1003s, researchers could focus on small changes in the reflection strength of the bed at different points and different angles.

I make digital recordings of my favorite LPs, and this is the one I listen to when I'm riding my bike, or on a place or a train.

Their updates, photographs and digital recordings will be sent from the field through scheduled communications over satellite telephone to a back-up team at the University of Helsinki.

By intertwining digital and acoustic sound, his work asks questions about what constitutes classical composition and live sound in an era that seems to prize instantly available digital recordings above all else.

The dispute traces its roots back to when Guns N' Roses' former A&R guy Tom Zutaut auctioned off a storage unit filled with digital recordings of GNR music from 2000 and 2001.

But he was all business, going over the "Philadelphia Voices" score and the logistics of how to perform it, asking who would join the orchestra to play Mr. Machover's digital recordings on the keyboard.

Now, debates about the quality of analog vinyl versus digital recordings is essentially a religious one that's been going on since the introduction of the CD. However, you can now make an argument that digital versions have become more accurate than vinyl.

Here's the e-mail the institute president, Mark Strand, sent to members on the breach: ---------- Dear Member of Congress: As you are aware, digital recordings from the national security, health care, and Vice President Pence meetings were anonymously leaked to several media outlets, including The Washington Post.

House GOP Conference Chairwoman Cathy McMorris RodgersCathy McMorris RodgersLawmakers deride FTC settlement as weak on Facebook Overnight Energy: Fight over fuel standards intensifies | Democrats grill Trump officials over rule rollback | California official blasts EPA chief over broken talks | Former EPA official says Wheeler lied to Congress EPA head clashes with California over how car emissions negotiations broke down MORE (Wash.) told her colleagues during a closed-door meeting Tuesday that the Congressional Institute has identified the individual who impersonated a congressman's wife, sneaked into the retreat and made digital recordings of lawmaker deliberations on national security and ObamaCare, as well as a speech by Vice President Pence.

In 1983, Philips became one of the first record labels to issue compact discs using digital recordings that had been made since 1978.The first digital recordings, however, were actually remastered versions of vintage recordings by the legendary tenor Enrico Caruso, using the Soundstream process developed in Salt Lake City, Utah in 1975-76. RCA Victor released vinyl versions of these reprocessed, historic recordings. Philips was among the record labels to use the Soundstream process for modern digital recordings.

The album was assembled from digital recordings of two semi-staged live performances given in June 1992 in the Barbican Hall, London.

GRP Records (Grusin-Rosen Productions) is a jazz record label founded by Dave Grusin and Larry Rosen in 1978. GRP was known for its all-digital recordings and jazz-pop sound.

Dutton Vocalion specialises in re-issuing on CD music recorded between the 1920s and 1970s, and in issuing albums of modern digital recordings. It was established by British recording and re-mastering engineer Michael J. Dutton.

These tracks were recorded in Rene's home studio but were never released any further than digital recordings on MySpace. In July 2011, the band auctioned off the only CD copies of these songs alongside exclusive merchandise.

Computer audition deals with audio signals that can be represented in a variety of fashions, from direct encoding of digital audio in two or more channels to symbolically represented synthesis instructions. Audio signals are usually represented in terms of analogue or digital recordings. Digital recordings are samples of acoustic waveform or parameters of audio compression algorithms. One of the unique properties of musical signals is that they often combine different types of representations, such as graphical scores and sequences of performance actions that are encoded as MIDI files.

The term digital Quran is used to refer to the text of the Qur'an processed or distributed as an electronic text, or more specifically to an electronic device dedicated to displaying the text of the Qur'an and playing digital recordings of Qur'an readings.

Along with Imam Bilal Hyde, Faisal Muqaddam, and Murshid Wali Ali Meyer, Shabda Kahn is co-author of Physicians of the Heart, A Sufi View of the 99 Names of Allah. Shabda Kahn has released over 9 digital recordings of his musical work and teaching.

Blame the mixing > engineer. That's why some digital recordings sound terrible, and I'm not > denying that they do, but don't blame the medium. Van Gelder continued to reside in Englewood Cliffs"The State of Jazz: Meet 40 More Jersey Greats". The Star-Ledger, September 28, 2004.

The Audio Archive includes music, audiobooks, news broadcasts, old time radio shows, and a wide variety of other audio files. There are more than 200,000 free digital recordings in the collection. The subcollections include audio books and poetry, podcasts, non-English audio, and many others."Welcome to Audio Archive" .

"How the CD was developed", BBC News; accessed 3 March 2009. Karajan's 1981 Deutsche Grammophon recording of An Alpine Symphony with the Berlin Philharmonic became the first work ever to be pressed on the compact disc format. Even though his repertoire had been extensively covered in analog (LP record), he spent of the rest of the 1980s making digital recordings, notably rerecording Beethoven's symphonies (Karajan and the Berlin Philharmonic's 1977 analog recording of Beethoven's Symphony No. 3 won the Grand Prix du Disque, while their 1984 digital recording of it was not particularly critically acclaimed yet sold considerably more). In the early 2000s, Deutsche Grammophon sold Karajan Masters, a rerelease of Karajan's 1980s digital recordings enhanced by 24-bit processing.

The album was compiled from digital recordings of a recital programme performed on 5 and 8 April 1981 at the Alice Tully Hall, New York City. The engineers used Neumann U-87 and KM-84 microphones, a Sony UMATIC recorder and a Sony PCM 1600 system. The album was mastered using CBS's DisComputer system.

In 2011, Celemony released Capstan, a stand-alone audio restoration software that eliminates wow and flutter from digital recordings. In October 2011, Celemony and PreSonus introduced Audio Random Access (ARA), an extension for audio plug-in formats like AU and VST that permits to exchange data between them which is supported by several DAWs.

In 1995 OS Digital Recordings released a recording from Burton upon Trent Town Hall entled "Come Dancing" which involved excerpts of music performed by Arnold Loxam on the organ. In the entrance lobby are four large wooden plaques, listing the names of the men of the County Borough of Burton who gave their lives in each world war.

PCM was used in telecommunications applications long before its first use in commercial broadcast and recording. Commercial digital recording was pioneered in Japan by NHK and Nippon Columbia and their Denon brand, in the 1960s. The first commercial digital recordings were released in 1971. The BBC also began to experiment with digital audio in the 1960s.

Later it was cassettes. Today most stations use computer digital recordings (usually MP3 or WAV) for aircheck creation. Airchecks made by listeners, generally with consumer-grade equipment, are often lost to poor quality copies made with tape playback machines that are not aligned to the recording machine. Many airchecks were made to record DXing reception, which often included fading, static and interference.

The Nightfly is one of the earliest examples of fully digital recording in popular music. Katz and Fagen had previously experimented with digital recording for Gaucho, which ended up entirely analog. Nichols conducted experiments and found that the digital recordings sounded better than those recorded to magnetic tape. The Nightfly was recorded using 3M's 32-track and four-track recorders.

McNabb p. 36 "Dreamsong" includes numerous forms of processed digital recordings of soprano vocals by Marilyn Barber. The soprano singing ten held notes of various pitches and syllables, as well as a glissando, were recorded. Some of the soprano tones were resynthesized with additive synthesis based on a Fourier transform of original firm wave functions, and these resynthesized tones replaced the original signals.

April 13, 1999. The Civil Rights Movement in Kentucky: Oral History Project , Kentucky Historical Society. Digital recordings; accessed December 5, 2010 (Note: A transcript of the recordings is available here ). Her father was from Lexington but did not live with them and she described her upbringing as being raised not only by her mother, but the entire African American community.

On analog media, similar damage registers as "noise" in the video, leaving a deteriorated (but watchable) video. DVDs may develop DVD rot, losing large chunks of data. An analog recording may be "usable" after its storage media deteriorates severely, but slight media degradation in digital recordings may trigger an "all or nothing" failure; the digital recording will be unplayable without extensive restoration.

"Tide of Sounds" broadcasts often took the form of high-quality digital recordings of nature sounds accompanied by spoken word narration by an actor as the "Voice."St.GIGA NEWS. St.GIGA. September 1, 1991. Throughout the life span of "Tide of Sounds" broadcasts, the part of the "Voice" would be played by a number of notable Japanese poets including Ryo Michiko among others.

Digital recordings were used with the aid of Ashley Slater, but McKean stated that most of the instruments used were real. Swedish singer Josefine Cronholm provided the vocals for the songs used in the film. The circus band are musicians from Farmers Market. The film's soundtrack, containing thirty tracks of background music and songs used in the film, was released by La-La Land Records in 2005.

Jordan Rudess performing with a digital synth A digital synthesizer is a synthesizer that uses digital signal processing (DSP) techniques to make musical sounds. This in contrast to older analog synthesizers, which produce music using analog electronics, and samplers, which play back digital recordings of acoustic, electric, or electronic instruments. Some digital synthesizers emulate analog synthesizers; others include sampling capability in addition to digital synthesis.

There was a mixed critical response to early digital recordings released on CD. Compared to vinyl record, it was noticed that CD was far more revealing of the acoustics and ambient background noise of the recording environment. For this reason, recording techniques developed for analog disc, e.g., microphone placement, needed to be adapted to suit the new digital format. Some analog recordings were remastered for digital formats.

The CDSA series, home to Vocalion's critically acclaimed modern digital recordings, was started in 2000. The artistes are among the UK's brightest talents in the fields of orchestral light music and jazz. They include John Wilson and His Orchestra, singers Gary Williams and Lance Ellington, the big band of drummer Pete Cater, and the Best of British Jazz, which includes in its ranks the late trombonist Don Lusher OBE.

Stockfisch Records is a German independent record label, aimed at audiophile fans of guitar-oriented singer-songwriter music and was formed in 1974 by Günter Pauler. Based in Germany, the main focus is European artists, but there are also American musicians working with Stockfisch, some of them expatriates living in Germany. Stockfisch releases vinyl editions of albums and Direct Stream Digital-recordings released as hybrid Super Audio CDs.

Rio Nido then focused on the vocalese style of Lambert, Hendricks and Ross and Eddie Jefferson. They also included Doo-Wop classics in their performances. In 1983 they released Hi Fly on Red House Records and featured Dave Karr on flute and tenor sax and Jimmy Hamilton on piano. Rio Nido’s last recording was Voicings, recorded for the ProJazz label, one of the first early digital recordings released in CD format.

The company is divided into two sections. The Dutton Laboratories label came first in 1993. It initially gained recognition for its highly acclaimed series of CDs of historic classical music performances that originally appeared on 78-rpm shellac discs. The Dutton Epoch series was established in 1999 and champions the unrecorded music of twentieth century British classical composers such as Arnold Bax, York Bowen, Arthur Butterworth, William Hurlstone and Granville Bantock in modern digital recordings.

Some opera recordings were released, including Pietro Mascagni's historic 1940 recording of his opera Cavalleria rusticana, complete with the original spoken introduction (in Italian) by the composer. EMI used the label for CDs consisting of re-released music recorded during the LP era, primarily in stereo. Some early digital recordings were also reissued on the label. EMI's classical-music operations were sold to Warner Music Group in 2013 after its dismantling by Universal Music.

An album "Plastikozamenitel'" ("Plastic substitute") from 2000 is the first release of Center that features the new concept of so-called Centroborators. Centroborators are the artists from various locations, who contribute to the albums of Center, transferring their digital recordings to Vasily Shumov's studio using internet. Several albums after "Plastikozamenitel" were created using the Centroborators concept.Official site - a "Centroborators" page (in russian) Since the mid-2000s, the band recommenced activities in Russia.

The four initial folktale anthologies of Mitra Majumdar are titled after a grandparent, who represents the bygone era and thereby embodies cultural heritage. In the contemporary context the written and digital recordings of these fables seem to have replaced the earlier oral tradition, but Thakurmar Jhuli remains a compilation that is not limited to children alone, and over the years has found tremendous response among the adults. It is a veritable treasure of Bengali literature.

That deal was severed and settled out-of-court after Artist filed a lawsuit for not receiving contractually due royalties. In 2015, his label has signed with Red River Entertainment, where they distribute the following physical discs of the Baldwin catalog ("MelloWonder - Songs in the Key of Stevie", "The Brazilian-American Soundtrack", "The Gift of Christmas", "Never Can Say Goodbye (A Tribute to Michael Jackson)" - Remixed and ReMastered. City Sketches, Inc. distributes digital recordings via a separate digital aggregator.

Though his output slowed, Van Gelder remained active as a recording engineer into the new century. In the late 1990s he worked as a recording engineer for some of the songs featured on the soundtrack to the TV Show Cowboy Bebop. From 1999, he remastered the analog Blue Note recordings he made several decades earlier into 24-bit digital recordings in its RVG Edition series. He was positive about the switch from analog to digital technology.

Sony Discman D121 ;Compact Disc player : Sony released the world's first CD Player, called the CDP-101, in 1982, using a slide-out tray design for the Compact Disc. ;Physical modelling synthesis : The first commercially available physical modelling synthesizer was Yamaha's VL-1 in 1994. ;Commercial digital recording :Commercial digital recording was pioneered in Japan by NHK and Nippon Columbia, also known as Denon, in the 1960s. The first commercial digital recordings were released in 1971.

All information collected is subject to the Amazon.com Privacy Notice. Amazon retains digital recordings of users' audio spoken after the "wake up word", and while the audio recordings are subject to demands by law enforcement, government agents, and other entities via subpoena, Amazon publishes some information about the warrants it receives, the subpoenas it receives, and some of the warrant-less demands it receives, allowing customers some indication as to the percentage of illegal demands for customer information it receives.

He pursue his college education and took up Mass Communication and later shifted to Communication Arts. As part of his career move, he moved to ABS-CBN and became a part of Star Magic and was chosen to be a part of all boy group Boys R Boys. In 2012, Bryan released his second album Hanggang Ngayon. Bryan has released digital recordings under Warner music he released his first single "Mundong Imposible" with "Maris Racal" as her leading lady on the video.

Founded in early 1990, St.GIGA was a satellite radio subsidiary of the Japanese satellite television company WOWOW, Inc, based out of Akasaka, Tokyo. Credited as the world's first digital satellite radio station, it was maintained by Hiroshi Yokoi and best known for its "Tide of Sound" broadcasts, which were high-quality digital recordings of nature sounds accompanied by a spoken word narrator known as the "Voice".Toop, David & Réveillon, Arnaud. Ocean of Sound: ambient music, mondes imaginaires et voix de l'éther.

After initially recording in Hong Kong and Singapore, Heymann switched to eastern European countries, profiting from his connections with the Hungaroton and Opus labels, located in Hungary and Czechoslovakia, which he distributed. In 1987, Heymann founded the Naxos label, with the goal of selling budget-priced classical CDs. His goal was to sell CDs at the same price as LPs, or roughly one-third of the price of CDs at the time. At first, he was acquiring digital recordings from a German company.

Harmonically Enhanced Digital Audio (HEDA) is a class of digital recordings created by using modern digital harmonic enhancement technology. With the proliferation of harmonic enhancement algorithms, pioneered by Crane Song's Dave Hill, a new class of harmonic enhancement algorithms have emerged. Examples of algorithms used to create HEDA include the HEAT feature (available on Pro Tools HD 8.1 and later) and the multi-platform plug-ins Universal Audio's Studer A800, Slate Digital's Virtual Console Collection, Waves Non- Linear Summer, and Crane Song HEDD-192.

Alexa uses an address stored in the companion app when it needs a location. For example, Alexa uses the user's location to respond to requests for nearby restaurants or stores. Similarly, Alexa uses the user's location for mapping-related requests. Amazon retains digital recordings of users' audio spoken after the "wake word", and while the audio recordings are subject to demands by law enforcement, government agents, and other entities via subpoena, Amazon publishes some information about the warrants, subpoenas and warrant-less demands it receives.

HK119 is the debut, eponymous solo album from Finnish multimedia artist and singer-songwriter Heidi Kilpeläinen, performing under her alter ego HK119. The album was released through One Little Indian Records on 20 February 2006 in the United Kingdom.HK119 @ allmusic.com The album was a collection of Kilpeläinen's home-made 8-track (multitrack) digital recordings, she composed especially for her MA degree course in Fine Art from 2003–2004, which she combined with individual home-made music videos for nearly every track on the album.

Grusin produced his first single, "Subways Are for Sleeping", in 1962 and his first film score for Divorce American Style (1967). Other scores followed, including Winning (1969), The Friends of Eddie Coyle (1973), The Midnight Man (1974), and Three Days of the Condor (1975). In the late 1970s, he started GRP Records with his business partner, Larry Rosen, and began to create some of the first commercial digital recordings. He was the composer for The Graduate, On Golden Pond (1981), Tootsie (1982) and The Goonies (1985).

In 1985, Horowitz signed with Deutsche Grammophon, and made both studio and live recordings until 1989, including his only recording of Mozart's Piano Concerto No. 23. Four filmed documents were made during this time, including the telecast of his April 20, 1986 Moscow recital. His final recording, for Sony Classical, was completed four days before his death and consisted of repertoire he had never previously recorded. With the advent of the Compact Disc, the various labels for which Horowitz recorded began reissuing his pre-digital recordings.

Argo ZRG 934 Digital recordings of the work are found on the 1991 CD of Thomas Hampson with the Welsh National Opera Orchestra & Chorus under Sir Charles Mackerras, and a 1994 rendition (released 2001) by Bryn Terfel with the Bournemouth Symphony Orchestra and assorted choirs, again under Hickox. (Included on those discs are Delius' Florida Suite, and Songs of Farewell and Songs of Sunset.Chandos 9214) In 2012, at the behest of the Delius Trust, a new recording of Sea Drift was made (paired again with Appalachia).

The symphony achieved what The Musical Times described as "immediate and phenomenal success", with a hundred performances in Britain, continental Europe and America within just over a year of its première. The symphony is regularly programmed by British orchestras, and features occasionally in concert programmes in North America and continental Europe. It is well represented on record, with recordings ranging from the composer's 1931 version with the London Symphony Orchestra to modern digital recordings, of which more than 20 have been issued since the mid-1980s.

The 8-headed Droid could load all data bases and imaging for a single song in all concert locations. The editors could jump to any point in a song, see what was available (or not) then jump to the same spot in all subsequent concerts. The trick was tracing back from the Droid data through LaserDisc data through video data back to 35mm stepdown print edge code and ultimately to the original IMAX neg - frame accurately to produce the neg cut list that needed to sync with the original 64 track digital recordings.

Although there was some controversy at Columbia about the appropriateness of this "debut" piece, the record received phenomenal praise and was among the best- selling classical music albums of its era. Gould became closely associated with the piece, playing it in full or in part at many recitals. A new recording of the Goldberg Variations, made in 1981, would be among his last albums; the piece was one of only a few he recorded twice in the studio. The 1981 release was one of CBS Masterworks' first digital recordings.

In June 2012 the MPTS assumed responsibility for medical tribunals, with their panels given the power to remove or suspend a doctor’s ability to work within the UK. It was expected that the service would handle some 340 doctors’ fitness-to- practise hearings a year. The MTPS was located in a dedicated hearing centre in Manchester which has 16 hearing rooms. There were changes in the records kept, with the use of digital recordings, instead of shorthand writers. Specialist advisers were used less often, only in exceptional circumstances.

Official transcripts of MPs' speeches in the House have been continuously published since 1867. Today Hansard is produced by a team of about 17 FTE Hansard editors within the Office of the Clerk of the House of Representatives. Hansard is published on the New Zealand Parliament website each day the House sits, and later indexed bound volumes are produced. Speeches are transcribed directly from digital recordings of the debate, with staff present in the debating chamber to monitor the debate by recording the sequence of speakers and any interjections.

A person for example can have walked a distance of 1 meter, and therefore if the distance is divided into four parts, i.e. four frames or "snapshots" in time, then each frame invariably looks like a blur, unless the subject keeps relatively still. Analogue signals can also be converted into a digital signal to enable the recordings to be stored on a PC as digital recordings. In that case the analogue video camera must be plugged directly into a video capture card in the computer, and the card then converts the analogue signal to digital.

Artists have since used backmasking for artistic, comedic and satiric effect, on both analogue and digital recordings. The technique has also been used to censor words or phrases for "clean" releases of explicit songs. In 1969, rumors of a backmasked message in the Beatles song "Revolution 9" sparked the Paul is dead urban legend. In the 1970s, 1980s and 1990s, Christian groups in the United States alleged that backmasking was being used by prominent rock musicians for Satanic purposes, leading to record-burning protests and proposed anti-backmasking legislation by state and federal governments.

Speeches are transcribed directly from digital recordings of the debate, with staff present in the debating chamber to monitor the debate by recording the sequence of speakers and any interjections. Interjections are reported only if the member speaking replies to them or remarks on them during the course of his or her speech. Hansard Editors follow strict rules on what changes they can make to the words members use in the chamber. Hansard is as close to verbatim as possible, although Hansard Editors remove repetitions and redundancies and make minor grammatical corrections.

Trey Anastasio's 2005 release, Shine, marked the first release by Anastasio since the formation of the 70 Volt Parade. Although the group does not perform on the album, they appeared in the video for the album's title track, as well as on the bonus features on the video side of the album's Dual Disc. The album, unlike its predecessors by Trey Anastasio & Phish, was released on Columbia Records. The switch of labels for Anastasio led to a delay in digital recordings of 2005 shows being available for sale on the Live Phish website.

Audiophiles have differed over the relative merits of the LP versus the CD since the digital disc was introduced. Vinyl records are still prized by some for their reproduction of analog recordings, despite digital being more accurate in reproducing an analog or digital recording. The LP's drawbacks, however, include surface noise, less resolution due to a lower Signal to Noise ratio and dynamic range, stereo crosstalk, tracking error, pitch variations and greater sensitivity to handling. Modern anti-aliasing filters and oversampling systems used in digital recordings have eliminated perceived problems observed with very early CD players.

The album experienced success in other Asian territories, charting in both South Korea and Taiwan respectively. In order to promote the album, Amuro released five singles: "Big Boys Cry" and "Beautiful" were distributed as a double A-side bundle, but resulted in being one of her lowest-selling efforts in Japan. Additionally, three digital recordings—"Contrail", "Hands on Me" and "Heaven"—experienced success on digital charts throughout the same region. Furthermore, Amuro promoted the album's material on her Feel Tour 2013, which traveled throughout Japan and different parts of Asia; a live DVD with the same name was distributed the following year.

As director of the Berkeley Seismology Center, Bolt pioneered the use of digital recordings rather than paper readouts to read data. Bolt identified that the epicenter of the 1906 San Francisco earthquake was near Daly City, California not near Olema, California in Marin County as had been previously thought. He also helped to design a simulation of the 1906 quake at the California Academy of Sciences museum in Golden Gate Park which has been seen by millions of people. He has written a number of works including Earthquakes: a Primer in 1978 and Inside the Earth: Evidence from Earthquakes in 1982.

This form of distortion, sometimes called granular or quantization distortion, has been pointed to as a fault of some digital systems and recordings particularly some early digital recordings, where the digital release was said to be inferior to the analog version. The range of possible values that can be represented numerically by a sample is determined by the number of binary digits used. This is called the resolution, and is usually referred to as the bit depth in the context of PCM audio. The quantization noise level is directly determined by this number, decreasing exponentially (linearly in dB units) as the resolution increases.

Audio editing became practicable with the invention of magnetic tape recording, but technologies like MIDI (Musical Instrument Digital Interface), sound synthesis allowed greater control for composers and artists. These digital audio techniques and mass storage have reduced recording and marketing costs so high-quality digital recordings can be produced in small studios. Today, the process of making a recording is separated into tracking, mixing and mastering. Multitrack recording makes it possible to capture signals from several microphones, or from different takes to tape, disc or mass storage, with maximized headroom and quality, allowing previously unavailable flexibility in the mixing and mastering stages.

In recent years, Anderson has teamed up with Domino Records who have co-released some of his albums. He also spent some time on Warner subsidiary, 679, which gave him major label backing for the first time. His increasing frustration with the music industry and how digital recordings are becoming throwaway commodities led him to release his material in small, vinyl only runs which were largely only available at concerts. To this end, KC Rules OK was re-released in 2006 with different versions of some songs, and a version of the album called "Chorlton and the Wh'earlies" recorded with The Earlies was available with some purchases.

By 1982 when the British, French, Italian and German versions were being developed, the original voices were recorded in the TI facility near Nice in France and these full bit rate digital recordings were sent to Dallas for processing using a minicomputer. Some weeks later the processed data was returned and required significant hand editing to fix the voicing errors which had occurred during the process. The data rate was so radically cut that all of the words needed some editing. In some cases this was fairly simple, but some words were unintelligible and required days of work and others had to be completely scrapped.

The project slowed down during the 1980s and direct activity by the original members under the WSP banner dwindled. However, the aftereffects left by their work in the 1970s helped Acoustic Ecology emerge internationally as a field of study and the methodologies of the World Soundscape Project served as the basis or inspiration for subsequent international endeavours. In the 1990s, the project reemerged with the digitization of much of the recordings library onto the DAT format, and new digital recordings made in Vancouver. These recordings formed the basis of the Soundscape Vancouver '96 project which culminated in a publication intended to revisit the Vancouver Soundscape project of 1973.

In 1981, Bonell made the first of three recordings of Joaquín Rodrigo's Concierto de Aranjuez. Recorded in Canada with the Montreal Symphony Orchestra and Charles Dutoit for the Decca label, it was one of the first digital recordings of the concerto and was described as "a magnificent triumph" by Classical Music magazine. It was awarded a "Rosette" by the Penguin CD Guide and has been frequently singled out as the finest interpretations available. During 1986, he played Rodrigo's Concierto de Aranjuez five times in London's Royal Festival Hall, with The Royal Philharmonic, The London Symphony Orchestra, The London Philharmonic Orchestra and English Chamber Orchestra.

Processing the sound in this manner according to Gilles, gives the music the studio mixes and masters a unique thumbprint, and an authentic sound. But depending on the client request or specification, the team does use digital recordings, and are not limited to either process singularly. Big Blue Meenie has worked exclusively with Apple and uses their software Logic Pro for mixing after analog recording. Other high end equipment and devices used in the studio include an Amek Mozart RN, ADAM S3A monitors, Yamaha NSTO's, and SL1200 turntables, as well as an extensive mic locker with limited and vintage microphones, and "boutique" outboard equipment.

He made digital recordings of trumpets and studied their timbral composition using "pitch-synchronous" spectrum analysis tools, revealing that the amplitude and frequency of the harmonics (more correctly, partials) of these instruments would differ depending on frequency, duration and amplitude. He is also credited with performing the first experiments on a range of synthesis techniques including FM Synthesis and waveshaping. After the discrete Shepard scale Risset created a version of the scale where the steps between each tone are continuous, and it is appropriately called the continuous Risset scale or Shepard-Risset glissando. Risset has also created a similar effect with rhythm in which tempo seems to increase or decrease endlessly.

International musicians that became popular in Sudan included reggae superstar Bob Marley and American pop singer Michael Jackson, while the funk of James Brown inspired Sudanese performers like Kamal Kayla. The spread of international pop music through radio, TV, cassette tapes and digital recordings also prompted a growing number of Sudanese musicians to sing in English, connecting their music with the outside world. – Even though the government of the time discouraged music, dance and theatre, the College of Music and Drama of Sudan University in Khartoum, going back to 1969, continued to offer courses and degrees, thus giving young people a chance to study music or theatre.

Reducing the number altered the plane's shape, which in turn reduced its flight realism; this necessitated a balance between performance and accuracy. To obtain audio for the planes, Greg LoPiccolo and Tom Streit—former bassist and road manager, respectively, of the band Tribe—visited a Florida importer of Russian aerobatic aircraft. The two placed microphones inside the cockpits and next to the engines, and they flew each plane at multiple speeds while recording with a digital audio tape machine. Combining this material with digital recordings of wind sounds, the team fashioned a physics-based sound system: sounds of the wind and engine are altered in real-time based on wind speed in the game.

Bass guitar was also recorded straight to tape "with a fairly ambient miking approach where the mic was three feet away from the cabinet". Vocals were recorded with Soundelux U99 Microphones, in combination with 1176 Classic limiter plug-in, Fairchild 670 Compressor and Elektro-Mess-Technik 140 Plate Reverb, giving the vocals a quality Batmanglij described as "buttery". For guitar sounds, Batmanglij chose not to mic his guitar and instead plugged his Les Paul direct-in to Pro Tools through a SansAmp Amp Emulation Pedal, a technique used by Jimmy Page. Vampire Weekend concentrated their efforts on giving each recording "warmth", feeling that modern digital recordings lacked the sound quality of older records.

Ryo also toured European jazz festivals with Joanne Brackeen as piano – guitar duo, and they recorded a pair of albums—AFT and Trinkets and Things—for Timeless Records in the Netherlands. In Japan, Sony's Open Sky label signed Ryo for three albums—Mirror of my Mind, Little Tree and Live—the latter, recorded in a Tokyo club, was one of the first all-digital recordings. Notable musicians who participated on those recordings include Michael Brecker, Harvey Mason, Leon Pendarvis, Azar Lawrence, Anthony Jackson, Lincoln Goines, Badal Roy, Nana Vasconcelos, Buddy Williams, Larry Willis, and Alex Blake. He also recorded an album called Sapporo for Swiss label America Sound in 1980 while touring Switzerland and Germany.

It was a departure for Hammer, bringing in funky deep soul and mixing it with a more house style. Released through licence on Whippet Digital Recordings, media reviews were said to be "disappointing". However, the song "I Got Gigs" from this album was used in a 2009 ESPN commercial and performed during Hammertime (as well as played while he danced just prior to introducing Soulja Boy during YouTube Live on November 22, 2008). Other tracks and videos from the album included: "I Go" (produced by Lil Jon), "Keep It In Vegas", "Lookin' Out The Window", "Dem Jeans" (by DASIT), "Stooge Karma Sutra" (by The Stooge Playaz) and "Tried to Luv U" (by DASIT featuring Pleasure Ellis).

Laursen was one of the first producers to anticipate the transition from analog to digital recording. She learned the new systems before many of her colleagues and is recognized in the industry for her leading role as change revolutionized recorded sound. In 1979, Laursen produced the first digital recordings made by Capitol Records with engineers Bob Norberg and Mitchell Tanenbaum. In a one-week period in November of that year, Laursen, Norberg, and Tanenbaum digitally recorded Bach and Telemann Suites (flutist Ransom Wilson with Gerard Schwarz conducting the Los Angeles Chamber Orchestra), the Claude Bolling Concerto for Guitar and Jazz Piano (Romero, Shearing, Manne, and Browne, referenced above) and Bach’s The Six Brandenburg Concertos (Gerard Schwarz conducting the Los Angeles Chamber Orchestra, Angel DSSC-4504).

A virtual choir, online choir or home choir is a choir whose members do not meet physically but who work together online from separate places. Some choirs just sing for the joy of the shared experience, while others record their parts alone and send their digital recordings, sometimes including video, to be collated into a choral performance. There may be a series of rehearsals which singers can watch online, and their performance recordings may be made while watching a video of the conductor and in some cases listening to a backing track, to ensure unanimity of timing. The worldwide COVID-19 pandemic in 2020 inspired a large growth in the number of virtual choirs, although the idea was not new.

For example, alignment level is commonly 0 dBu (Equal to 0.775 Volts RMS) in broadcast chains and in professional audio what is commonly known as 0 VU, which is +4 dBu (equal to 1.227 Volts RMS) in places where the signal exists as analogue voltage. Under normal situations, the "0VU" reference allowed for a headroom of 18 dB or more above the reference level without significant distortion. This is largely due to the use of slow responding VU meters in almost all analogue professional audio equipment which, by their design, and by specification responded to an average level, not peak levels. It most commonly is at −18 dB FS (18 dB below full scale digital) on digital recordings for programme exchange, in accordance with EBU recommendations.

After a near fatal auto accident in 1972, that involved singer Roberta Flack and guitarist, Cornell Dupree Jemmott put up the bass due to the injuries sustained, but would return in 1975 in the midst of the closure of many of the recording studios, due to emergence of compact home recording studios that utilized the syncing of the drum machine with the synthesizer, the precursor to the decline of recording industry and the emerging acceptance of the sound of digital recordings. He continued to work in film and theater as an arranger and conductor with John Williams and The Boston Pops. He was cited as a major influence by bassist Jaco Pastorius who incorporated Jemmott's funk bass lines into his own style.

Prior to the development of EDA, integrated circuits were designed by hand and manually laid out. Some advanced shops used geometric software to generate tapes for a Gerber photoplotter, responsible for generating a monochromatic exposure image, but even those copied digital recordings of mechanically drawn components. The process was fundamentally graphic, with the translation from electronics to graphics done manually; the best-known company from this era was Calma, whose GDSII format is still in use today. By the mid-1970s, developers started to automate circuit design in addition to drafting and the first placement and routing tools were developed; as this occurred, the proceedings of the Design Automation Conference catalogued the large majority of the developments of the time.

By the late 1990s, mechanisms for capturing or transferring recordings to the digital domain were well-developed. Digital, magnetic formats and media like Pulse Code Modulation (PCM) and Digital Audio Tape (DAT), or optical media like Compact Discs (CDs), and other types of digital storage, permitted archivists to record concerts in a manner that reduced or eliminated the degradation of source material when played back or copied. Copies of such recordings could be made that were exact duplicates of the original recording, and such copies do not exhibit degradation in the way that analog audio tape does. Thus, today, digital recordings are typically made to DAT, optical disc, or to hard drives, flash memory, and other types of digital storage.

In 2005 Dr Roger Tucker had an idea for a software application to help students with disabilities to take better notes, this was aimed at students with disabilities like dyslexia who found note taking difficult to the point of affecting their attainment and often relied on lengthy digital recordings for note-taking. He founded Sonocent and in 2007 Audio Notetaker was launched. The software was recommended to students through the Disabled Students Allowance (DSA) scheme in the UK. In 2014 Sonocent was an Educational Resource Awards (ERA) winner and in 2015 it won the BETT IT Company of the Year (Under £1m turnover) award, it was also in the 2018 Northern Tech Awards Top 100. It was featured in The Parliamentary Review (Technology) 2017/18.

The music was revived in a number of concerts conducted by Lehnhoff, thus surprising the musical world with a new repertoire of high quality. The first series of digital recordings (1992–99), which spanned from the late Maya times to the end of the 20th century, was released as part of the monumental Historia General de Guatemala, an encyclopedic publication in six volumes written by over 150 specialists in every historical area. The series of seven CDs included premiere recordings of music from every historical period. The revival of the historic Music of Guatemala through Lehnhoff's concerts, writings, and recordings had a significant effect on the strengthening of the cultural identity of Guatemalans in times of civil confrontation and turmoil.

With the Diamond Rio player in 1998 and the Apple iPod, the mass market began to eschew physical media in favor of file-based systems. Sony (Hi-)MiniDisc Recorder MZ-RH1, released 2006 By 2007, because of the waning popularity of the format and the increasing popularity of solid-state MP3 players, Sony was producing only one model, the Hi-MD MZ-RH1, also available as the MZ-M200 in North America packaged with a Sony microphone and limited Apple Macintosh software support.Sony MZ-RH1 User Manual The introduction of the MZ-RH1 allowed users to freely move uncompressed digital recordings back and forth from the MiniDisc to a computer without the copyright protection limitations previously imposed upon the NetMD series. This allowed the MiniDisc to better compete with HD recorders and MP3 players.

Digital recordings often operated by court clerks or AAERT members does not provide for instant play back or review of portions of the recording with ease. A Certified Realtime Reporter (CRR) and a Certified Broadcast Captioner (CBC) offer the ability to show live transcription of the spoken record by captioning what is said to display it on a screen in real time, and as the latter is a stenographic court reporter, they can provide instant read back of testimony unlike a recording. Many stenographic court reporters work as freelance reporters or independent contractors in depositions and other situations that require an official legal transcript, such as arbitration hearings or other formal proceedings. "CART" providers, computer-aided real-time transcription, also often provide real-time services for public events, religious services, webcasts, and educational services.

Optimum Digital Levels with respect to the Full Digital Scale (dBFSD) In the 1990s, electro- mechanical processes were largely superseded by digital technology, with digital recordings stored on hard disk drives or digital tape and mastered to CD. 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 are still a matter for 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.

Between the invention of the phonograph in 1877 and the first commercial digital recordings in the early 1970s, arguably the most important milestone in the history of sound recording was the introduction of what was then called electrical recording, in which a microphone was used to convert the sound into an electrical signal that was amplified and used to actuate the recording stylus. This innovation eliminated the "horn sound" resonances characteristic of the acoustical process, produced clearer and more full-bodied recordings by greatly extending the useful range of audio frequencies, and allowed previously unrecordable distant and feeble sounds to be captured. During this time, several radio- related developments in electronics converged to revolutionize the recording process. These included improved microphones and auxiliary devices such as electronic filters, all dependent on electronic amplification to be of practical use in recording.

Many people have noticed this trend and thus call for the preservation and documentation of not only Wu but all Chinese varieties. The first major attempt was the Linguistic Atlas of Chinese Dialects, which surveyed 2,791 locations across the nation, including 121 Wu locations (a step up from the two locations in PKU's earlier surveys), and led to the formation of an elaborate database including digital recordings of all locations; however, this database is not available to the general public. The atlas's editor, Cao Zhiyun, considers many of these languages "endangered" and has introduced the term (Languages in danger) or "endangered dialects" into the Chinese language to raise people's attention to the issue, while others try to draw attention to how the dialects fall under the scope of UNESCO's intangible cultural heritage and as such deserve to be preserved and respected. More TV programs are appearing in Wu varieties and nearly every city/town has at least one show in their native variety.

It used 1-inch wide tape and recorded 32 tracks. Unlike analog tape, edits could not be accomplished with a grease pencil, razor blades and splicing tape. So a secondary 4 track editing & mix down recorder was also created with an electronically-controlled edit controller to make effective digital edits. This early system used a 16-bit digital "word". The only converters of the day were 12 bit & 4 bit. So two were cascaded/daisy-chained to create the necessary 16-bit "word" for 96 DB of dynamic range. The signal was then sampled faster than any other digital recordings made up until that time at 50,000 times per second (50 kHz). It was known to be the best sounding of all the later digital multi-track recorders because their use of 50 kHz sampling did not become the industry standards later established as 44.1 kHz for CD's & 48 kHz for digital video.

In December 2000, Pure Rubbish entered Digital Recordings in Houston to record their debut album, Glamorous Youth (produced by Mike Clink who also produced Guns N' Roses album Appetite for Destruction). They later went to Los Angeles, California to finish the album at Rumbo Recorders studio from January through March 2001. After the album was completed the band headed back to Houston briefly, only to head back to L.A. to play some promotional showcase gigs. May 2001 saw the band play Ozzfest UK at Milton Keynes, England and three shows in London supporting Motörhead and the Backyard Babies. Pure Rubbish toured that summer from June through August on the Second Stage of Ozzfest 2001 headlined by Black Sabbath. The tour helped expose the band to new fans along with having segments aired on MTV’s You Hear It First program and VH1’s The Rock Show, but was also a challenge as Pure Rubbish’s brand of rock n’ roll was out of step with the other bands.

A traffic surveillance camera in Stockholm, Sweden These cameras do not require a video capture card because they work using a digital signal which can be saved directly to a computer. The signal is compressed 5:1, but DVD quality can be achieved with more compression (MPEG-2 is standard for DVD-video, and has a higher compression ratio than 5:1, with a slightly lower video quality than 5:1 at best, and is adjustable for the amount of space to be taken up versus the quality of picture needed or desired). The highest picture quality of DVD is only slightly lower than the quality of basic 5:1-compression DV. Saving uncompressed digital recordings takes up an enormous amount of hard drive space, and a few hours of uncompressed video could quickly fill up a hard drive. Holiday uncompressed recordings may look fine but one could not run uncompressed quality recordings on a continuous basis.

Singer Angela Bofill, who was Valentin's girlfriend at the time, was also signed to the label along with trumpet player Tom Browne, vibraphonist Jay Hoggard and the youngest performer under their banner, high school piano prodigy Bernard Wright, who was 16 years old when he recorded his debut album Nard in 1980, among the other artists they signed and produced. Valentin's debut album Legends would sell more than 70,000 copies, Bofill's debut album Angie would sell over 280,000 copies and Browne's debut album Browne Sugar would sell more than 700,000 copies, which surprised many and solidified Grusin's and Rosen's reputations as producers. Also during this period, Grusin made his first pure digital recording, the best-selling album Mountain Dance, which was recorded live with no overdubbing and utilized some of the best recording technology at the time including the digital Soundstream Editing System, which was from Salt Lake City, Utah. The album was recorded in five grueling days and was one of the first digital recordings produced in 1978.

The group is best known for its album Touching the Clouds (1992), which was found to produce the lowest heart- beat rate in a test at Kingston University and was later recommended by doctors at St Bartholomew's Hospital in London to help reduce stress. Other musicians who have played on albums by Symbiosis include: Ian Ritchie (soprano sax); Ashley Drees (cittern and mandolin); Michèle Drees (percussion); Sarah Devonald (oboe & cor anglais); Rupert Flindt (fretless bass); Maloviere (tsimbala and violin); Nicki Paxman (violin and keyboards); and Emily Jane Sinclair (flute and vocals). In 1995/6, the group's founder-member Clive Williamson travelled to New Zealand to make digital recordings of its unique natural sounds, which were released by Symbiosis in 1997 (in both NZ and the UK) as 'AOTEAROA - Nature Sounds of New Zealand'. The album included birdsong from endemic species including the tui, korimako (New Zealand bellbird) and the endangered tieke (saddleback) and hihi (stitchbird), some of which was recorded on the offshore natural reserves of Kapiti Island and Tiritiri Matangi Island.