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Resolution is unique in its approach to new and existing technologies; it explains, demystifies and places in context the developments that are shaping our business. We look at new technologies and revisit established ones that have been redefined.

  • Mike Aiton gets his mix room sorted with some Trinnovative hardware
  • Algorithms & audio – Robin Reumers looks to the future
  • A new service for fibre broadband and 5G aims to make in-sync remote musical collaboration a reality
  • Thomas Lund explains the science of listening – and previews the fourth generation of GLM
  • Coincident miking – Andrew Levine has some great ideas for Ambisonic techniques
  • Martin Dawe explains how he developed a new way to store and edit audio along with note, harmonic, frequency, and amplitude information
  • CTO of Auro Technologies BERT VAN DAELE explains how the Auro-3D Creative Tools Suite allow a single workflow to output channel-based, object-based and M&E versions of a mix from one session
  • RTW's Mike Kahsnitz outlines a speech intelligibility problem
  • NIKOLAY GEORGIEV, Acustica developer and marketing man, explains his company’s innovative software system
  • Software Development Manager DAVID CRITCHLEY and Product Specialist JAMES TOWNEND explain how AMS Neve added an extra dimension to movie mixing
  • How to make your mix sound good on Spotify – IAN SHEPHERD explains his innovative plug-in and website
  • Senior product manager for broadcast console specialist Calrec, PETER WALKER, explains the company’s next-gen audio processing and routing platform
  • The AES has released AES47, a new standard for passing uncompressed professional audio over high-speed networks. Typically using ATM 25Mbs or 155Mbs interfaces and conventional Cat 5 structured wiring or optical fibre, AES47 can interoperate with other types of data to provide a complete communications package for the most challenging audio and video tasks.
  • The sonic anomalies and performance of audio systems can be, and are, attributed to a variety of different processes yet the matter of phase is frequently overlooked. TONY WALDRON of CADAC Electronics says that getting phase correct is an essential for any piece of equipment that alludes to true quality.
  • Recent coverage of the topic in the pages of this magazine have begged explanation of the whole double-ended shield bonding issue. The knowledge base and the substantiating proof exists, according to KEITH ARMSTRONG and TONY WALDRON.
  • What if somebody told you that many new pop CD releases are so distorted that 16 -bit/44.1kHz is complete overkill? Read on to find out how music is being mistreated and to learn that this is not an audiophile issue comparable to differences in speaker wire, flavours of dither, or 192kHz/DSD. TC Electronic’s THOMAS LUND describes the fundamentals of the hot level problem.
  • The fate of the 8mm Exabyte drive favoured by the mastering fraternity has rung alarm bells among those involved in the business of delivering masters. PETER SELF argues that the development offers the industry a rare opportunity to decide something for itself.
  • Despite an initial lukewarm reception the extension of FireWire has not gone away. Indeed recent developments have made mLAN a far more attractive proposition for serious audio production. TERRY HOLTON of Yamaha’s R&D Centre explains.
  • You know the problem: you’re watching the television with the sound turned up to a comfortable level when along comes a commercial break and suddenly you’re being deafened. RENÉ MOERCH, technical director of DK-Audio explains why it happens and asks why is it still allowed to happen.
  • Like mischievous ghosts, poorly-designed 48V phantom power supply circuits can play mysterious tricks on users. A microphone’s ability to handle high sound levels can be reduced considerably, problems of wind noise and solid-borne sound can increase, and the overall sound quality can suffer while all long the underlying cause remains invisible.
  • Despite their increased adoption and availability, digital equalisers continue to suffer from a lack of acceptance and endure unfavourable comparisons to analogue EQ. MICHAEL KEMP from Sintefex offers an explanation and proposes a solution.
  • Recent developments have made EtherSound, which is already an established technology in the live sound and fixed installation markets, an interesting alternative for studios dissatisfied with the cost and limited flexibility of traditional audio routing systems. An extended EtherSound specification along with its first implementation was recently released and this enables bi-directional audio distribution over the same cable and higher sample rate conversions at 88.2, 96, or 192kHz. Digigram’s CARL CONRAD puts it all into context.
  • In some circumstances, a pure, unaltered audio signal might be all that is required. However, some ‘crafting’ of the signal is often required and the signal must travel through another maze of components. ASHLEY STYLES looks at some classics to see what is happening.
  • At the Frankfurt Musik Messe, Waves gave Resolution an advance look at its new Audio Processing Accelerator hardware units, designed to allow users to run multiple instantiations of Waves’ most CPU-hungry plug-ins. Released at the Barcelona AES, the Accelerators offer the ability to combine units for extra power and to share resources among multiple units in a manner that has interesting implications for the future of DAW work. Waves’ GARRETT SODEN gives an insight into how the products were developed and outlines the benefits to end users.
  • It’s the interconnect that sorts out a lot of problems we thought we had and a few that we didn’t; it’s the High-Defi nition Multimedia Interface. NIGEL JOPSON discovers a new digital connector that has all sorts of implications for the future - including the forced deactivation of analogue outputs.
  • The room/loudspeaker ‘system’ has long been identifi ed as critical in the reproduction of faithful audio. CURTIS HOYT of Trinnov Audio explains how advances in research have resulted in an innovative solution to the requirement for ‘universally consistent’ audio.
  • The 2006 World Cup is done and dusted and people all over the world are getting back to a semblance of normality. However, the sporting triumph overshadowed the technical achievement running beneath it all with HD and multichannel fi rsts and the employment of the world’s largest audio routing system. Lawo had an integral part to play in the event’s infrastructure, RESOLUTION looks at the technology.
  • A couple of issues ago, the editor drew attention in his leader to a problem that has been occupying Master Audio’s MARTIN SPENCER’s working days (and nights) for well over a year. Why does compressed audio sound so downright annoying, and is there anything that can be done to make it sound better?
  • Planning on a storage topology to meet current and future needs requires a review of your critical storage requirements - capacity, performance, security, segmentation and latency. CORKY SEEBER from Small Tree Communications looks at the options and explains the differences.
  • While the demand for larger systems, better quality and lower cost grows exponentially, the professional media industry continues to rely on two decade-old technology, says to Fairlight’s STUART DEMARAIS. He says Fairlight has made a breakthrough with new audio and video products incorporating its CC-1 Crystal Core Technology.
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