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best cryptocurrency exchangeassignment help essay help now[vc_row][vc_column][vc_custom_heading text=”Audio – Video Home Entertainment ” font_container=”tag:h2|text_align:center”][vc_single_image image=”76334″ img_size=”medium” alignment=”center”][vc_empty_space height=”42px”][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”Mono Versus Stereo ” font_container=”tag:h2|text_align:center”][vc_column_text]

It’s A Common Question In Many Church Sound System Projects, “Will Our System Be Mono Or Stereo?” What Usually Follows Is A Lengthy Discussion About The Applicability Of Mono Sound Systems Versus Stereo Systems, The Difference Between Two Channel Sound Systems And Stereo Sound Systems, The Benefits And Limitations Of Each, The Architectural Constraints And Program Requirements That Will Affect The Decision, And The Cost Implications Of Each. It Is Very Apparent That Everyone Has Their Own Interpretation Of The Terms ‘Mono’ And ‘Stereo’, Influenced By Their Own Experiences And Expectations. Translating One’s Experience With Home Audio Systems Or Project Studios Into A Large Venue Like A Church Or A Theatre Often Takes An Adjustment In Conceptual Thinking, So We Always Have To Provide A Reference Point For The Discussion Of Mono, Stereo And Two Channel Sound Systems. Let’s Start Off With Mono.

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Mono :- Mono Or Monophonic Describes A System Where All The Audio Signals Are Mixed Together And Routed Through A Single Audio Channel. Mono Systems Can Have Multiple Loudspeakers, And Even Multiple Widely Separated Loudspeakers. The Key Is That The Signal Contains No Level And Arrival Time/Phase Information That Would Replicate Or Simulate Directional Cues. Common Types Of Mono Systems Include Single Channel Centre Clusters, Mono Split Cluster Systems, And Distributed Loudspeaker Systems With And Without Architectural Delays. Mono Systems Can Still Be Full-Bandwidth And Full-Fidelity And Are Able To Reinforce Both Voice And Music Effectively. The Big Advantage To Mono Is That Everyone Hears The Very Same Signal, And, In Properly Designed Systems, All Listeners Would Hear The System At Essentially The Same Sound Level. This Makes Well-Designed Mono Systems Very Well Suited For Speech Reinforcement As They Can Provide Excellent Speech Intelligibility.

                     Stereo :- True Stereophonic Sound Systems Have Two Independent Audio Signal Channels, And The Signals That Are Reproduced Have A Specific Level And Phase Relationship To Each Other So That When Played Back Through A Suitable Reproduction System, There Will Be An Apparent Image Of The Original Sound Source. Stereo Would Be A Requirement If There Is A Need To Replicate The Aural Perspective And Localization Of Instruments On A Stage Or Platform, A Very Common Requirement In Performing Arts Centres. This Also Means That A Mono Signal That Is Panned Somewhere Between The Two Channels Does Not Have The Requisite Phase Information To Be A True Stereophonic Signal, Although There Can Be A Level Difference Between The Two Channels That Simulates A Position Difference, This Is A Simulation Only. That’s A Discussion That Could Warrant A Couple Of Web Pages All By Itself.

An Additional Requirement Of The Stereo Playback System Is That The Entire Listening Area Must Have Equal Coverage Of Both The Left And Right Channels, At Essentially Equal Levels. This Is Why Your    Home Stereo System Has A “Sweet Spot” Between The Two Loudspeakers, Where The Level Differences And Arrival Time Differences Are Small Enough That The Stereo Image And Localization Are Both Maintained. This Sweet Spot Is Limited To A Fairly Small Area Between The Two Loudspeakers And When A Listener Is Outside That Area, The Image Collapses And Only One Or The Other Channel Is Heard. Living With This Sweet Spot In Your Living Room May Be Ok, Since You Can Put Your Couch There, But In A Larger Venue, Like A Church Sanctuary Or Theatre Auditorium, That Sweet Spot Might Only Include 1/3 The Audience, Leaving 2/3 Of The Audience Wondering Why They Only Hear Half The Program.

In Addition A Stereo Playback System Must Have The Correct Absolute Phase Response Input To Output For Both Channels. This Means That A Signal With A Positive Pressure Waveform At The Input To The System Must Have The Same Positive Pressure Waveform At The Output Of The System. So A Drum, For Instance, When Struck Produces A Positive Pressure Waveform At The Microphone And Should Produce A Positive Pressure Waveform In The Listening Room. If You Don’t Believe That This Makes A Tremendous Difference, Try Reversing The Polarity Of Both Your Hifi Loudspeakers Some Day And Listening To A Source That Has A Strong Centre Sound Image Like A Solo Voice. When The Absolute Polarity Is Flipped The Wrong Way, You Won’t Find A Stable Centre Channel Image, It Will Wander Around Away From The Centre, Localizing Out At Both The Loudspeakers.

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This Article Is About Noise As An Unwanted Acoustic Phenomenon. For The General Signal Phenomenon, See Noise (Spectral Phenomenon). For Other Uses, See Noise (Disambiguation). It Is Unwanted Sound Judged To Be Unpleasant, Loud Or Disruptive To Hearing. From A Physics Standpoint, Noise Is Indistinguishable From Sound, As Both Are Vibrations Through A Medium, Such As Air Or Water. The Difference Arises When The Brain Receives And Perceives A Sound. In Experimental Sciences, Noise Can Refer To Any Random Fluctuations Of Data That Hinders Perception Of An Expected Signal. Acoustic Noise Is Any Sound In The Acoustic Domain, Either Deliberate (E.G., Music Or Speech) Or Unintended. In Contrast, Noise HYPERLINK “https://en.wikipedia.org/wiki/Noise_(electronics)”InHYPERLINK “https://en.wikipedia.org/wiki/Noise_(electronics)” Electronics May Not Be Audible To The Human Ear And May Require Instruments For Detection. In Audio Engineering, Noise Can Refer To The Unwanted Residual Electronic Noise Signal That Gives Rise To Acoustic Noise Heard As A Hiss.

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In Audio, Recording, And Broadcast Systems, Audio Noise Refers To The Residual Low-Level Sound (Four Major Types: Hiss, Rumble, Crackle, And Hum) That Is Heard In Quiet Periods Of Program.

All Recording Devices, Both Analog And Digital, Have Traits That Make Them Susceptible To Noise. Noise Can Be Random Or White Noise With No Coherence, Or Coherent Noise Introduced By The Device’s Mechanism Or Processing Algorithms. In Electronic Recording Devices, A Major Form Of Noise Is Hiss Caused By Random Electrons That, Heavily Influenced By Heat, Stray From Their Designated Path. These Stray Electrons Influence The Voltage Of The Output Signal And Thus Create Detectable Noise.

In The Case Of Photographic Film And Magnetic Tape, Noise (Both Visible And Audible) Is Introduced Due To The Grain Structure Of The Medium. In Photographic Film, The Size Of The Grains In The Film Determines The Film’s Sensitivity, More Sensitive Film Having Larger Sized Grains. In Magnetic Tape, The Larger The Grains Of The Magnetic Particles (Usually Ferric HYPERLINK “https://en.wikipedia.org/wiki/Ferric_oxide”Or  Oxide Magnetite), The More Prone The Medium Is To Noise. To Compensate For This, Larger Areas Of Film Or Magnetic Tape May Be Used To Lower The Noise To An Acceptable Level. Many Noise Reduction Algorithms Tend To Damage More Or Less Signals. The Local Signal-And-Noise Orthogonalization Algorithm [1] Can Be Used To Avoid The Damages To Signals.

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When Recording A Signal On Magnetic Tape, There Is A Low Level Of “Noise” In The Background Which Sounds Like Hissing. One Solution Is “Low-Noise” Tape Which Records More Signal, And Less “Noise”. Other Solutions Are To Run Tape At A Higher Speed Or Use A Wider Tape. Cassette Tapes Were Originally Designed To Trade Off Fidelity For Convenience Of Recording Voice By Using A Very Narrow Tape Run At A Very Slow Speed Of 1 7/8 Inches Per Second In A Simple Plastic Shell When 15 Or 7 1/2 IPS Was For High Fidelity And 3 And 3/4 Was Lower Fidelity. When Advent Designed One Of The First Cassette Tape Decks For High Fidelity, Noise Reduction Was One Way To Fix Problems With The Format, Along With Chrome And High-Bias Tapes With Extended High Frequency Response. With 10 To 20 Years, The Original Reel-To-Reel High Fidelity Tape Recorders Which Did Not Need Noise Reduction Were Eventually Replaced By Cassette Decks For Home Use. The Dominant Noise Reduction Scheme “Dolby B” Was Widely Accepted Because If An Inexpensive Cassette Player Lacked The Switch, They Would Just Sound Brighter Which Often Offset The Dull Sounds Of Cheap Players.

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The Signal To Noise Ratio Is Simply How Large The Music Signal Is Compared To The Low Level Of The “Noise” With No Signal. When The Music Is Loud, The Low Hiss Is Not Noticeable, But When The Music Is Soft Or In Silence, Most Of What Can Be Heard Is The Noise. If The Recording Level Is Adjusted So That The Music Is Always Loud, Then It Could In Theory Be Turned Down Later, And The Noise Volume Would Also Be Turned Down. The Idea Is For Electronics To Automatically Increase The Recording Volume When It Is Soft, But Reduce The Volume On Playback. Some Schemes Like Dolby B Concentrate Only On The High Frequencies So That The “Hiss” Sound Of Noise Will Be Masked When Volume Is Turned Down For Playback.

Dolby Noise Reduction Is A Form Of Dynamic PreHYPERLINK “https://en.wikipedia.org/wiki/Preemphasis” Amp ha sis Employed During Recording, Plus A Form Of Dynamic Deemphasise Used During Playback, That Work In Tandem To Improve The Signal-To-Noise Ratio. While Dolby A Operates Across The Whole Spectrum, The Other Systems Specifically Emphasize The Audible Frequency Range Where Background Tape Hiss, An Artefact Of The Recording Process That Is Similar To White Noise, Is Most Noticeable (Usually Above 1 Khz, Or Two Octaves Above Middle C).

The Dolby Pre Amp has is Boosts The Recorded Level Of The Quieter Audio Signal At These Higher Frequencies During Recording, Effectively Compressing The Dynamic Range Of That Portion Of The Signal, So That Quieter Sounds Above 1 Khz Receive A Proportionally Greater Boost. As The Tape Is Recorded, The Relative Amplitude Of The Signal Above 1 Khz Is Used To Determine How Much Pre-Emphasis To Apply – A Low-Level Signal Is Boosted By 10 Db (Dolby B) Or 20 Db (Dolby C). As The Signal Rises In Amplitude, Less And Less Pre-Emphasis Is Applied Until At The “Dolby Level” (0 Vu), No Signal Modification Is Performed.

The Sound Is Thus Recorded At A Higher Overall Level On The Tape Relative To The Tape’s Overall Noise Level, Requiring The Tape Formulation To Preserve This Specially Recorded Signal Without Distortion. On Playback, The Opposite Process Is Applied (Deemphasise), Based On The Relative Signal Component Above 1 Khz. Thus As This Portion Of The Signal Decreases In Amplitude, The Higher Frequencies Are Progressively More Sharply Attenuated, Which Also Filters Out The Constant Background Noise On The Tape When And Where It Would Be Most Noticeable.

The Two (Pre And De-Emphasis) Processes Are Intended To Cancel Each Other Out As Far As The Actual Recorded Program Is Concerned. Only De-Emphasis Is Applied To The Incoming Signal And Noise During Playback. After Playback De-Emphasis Is Complete, Apparent Noise In The Output Signal Is Reduced, And This Process Should Not Produce Any Effect Noticeable To The Listener (Other Than Reduced Noise Of Course). Playback Without Noise Reduction Produces A Noticeably Brighter Sound, However.

The Calibration Of The Recording And Playback Circuitry Is Therefore Critical For Faithful Reproduction Of The Original Program Content, And This Is Easily Offset By Poor Quality Tape, Dirty Recording/Playback Heads, Or Using Inappropriate Bias Levels/Frequency For The Tape Formulation, As Well As Tape Speed, When Recording Or Duplicating. This Can Manifest Itself As Muffled-Sounding Playback, Or “Breathing” Of The Noise Level As The Signal Varies.

On Some High End Consumer Equipment, Dolby Calibration Control Is Included: For Recording, A Reference Tone At Dolby Level May Be Recorded For Accurate Playback Level Calibration On Another Transport; At Playback, The Same Recorded Tone Should Produce The Identical Output, As Indicated By A Dolby Logo Marking At 0 Vu On The Vu Meter(S). (In Consumer Equipment Dolby Level Is Defined As 200 NWB/M; Calibration Tapes Were Available To Assist Correct Level Setting.) For Accurate Off-The-Tape Monitoring During Recording On 3-Head Decks, Both Processes Must Be Employed At Once, And Circuitry Provided To Accomplish This Is Marketed Under The Rubric “Double Dolby”.

Dolby A :- Dolby A Was The Company’s First Noise Reduction System, Presented In 1965.[1] It Was Intended For Use In Professional Recording Studios, Where It Became Commonplace, Gaining Widespread Acceptance At The Same Time That Multitrack Recording Became Standard. The Input Signal Is Split Into Frequency Bands By Four Filters With 12 Db Per Octave Slopes, With Cut off Frequencies (3 Db Down Points) As Follows: Low–Pass At 80 Hz; Band–Pass From 80 Hz To 3 Khz; A High–Pass From 3 Khz; And Another High–Pass At 9 Khz. (The Stacking Of Contributions From The Two High-Pass Bands Allows Greater Noise Reduction In The Upper Frequencies.) The Commander Circuit Has A Threshold Of -40 Db, With A Ratio Of 2:1 For A Compression/Expansion Of 10 Db. This Provides About 10 Db Of Noise Reduction Increasing To A Possible 15 Db At 15 Khz, According To Articles Written By Ray Dolby In Jaes (October 1967) And Audio (June/July 1968).

As With The “B” System, Correct Matching Of The Compression And Expansion Processes Is Important. The Calibration Of The Expansion (Decoding) Unit For Magnetic Tape Uses A Flux Level Of 185 NWB/M, Which Is The Level Used On Industry Calibration Tapes Such As Those From Amp ex; This Is Set To 0 Vu On The Tape Recorder Playback And To Dolby Level On The Noise Reduction Unit. In The Record (Compression Or Encoding) Mode A Characteristic Tone (Dolby Tone) Generated Inside The Noise Reduction Unit Is Set To 0 Vu On The Tape Recorder And To 185 NWB /M On The Tape.

Dolby A Also Saw Some Use As The Method Of Noise Reduction In Optical Sound For Motion Pictures.

Dolby B :-A Typical Front Loading Consumer Auto reverse Hi-Fi Cassette Deck From The Late 1980s (Sony Tc-Rx55), Featuring Full Electronic Transport, Dolby B And C Noise Reduction, And HX pro Dynamic Headroom Expansion

Dolby B Was Developed After Dolby A And Presented In 1968, As A Single Sliding Band System Providing About 9 Db Noise Reduction (A-Weighted), Primarily For Cassettes. It Was Much Simpler Than Dolby A And Therefore Much Less Expensive To Implement In Consumer Products. Dolby B Recordings Are Acceptable When Played Back On Equipment That Does Not Possess A Dolby B Decoder, Such As Most Inexpensive Portable And Car Cassette Players. Without The De-Emphasis Of The Decoder, The Sound Will Be Perceived As Brighter As High Frequencies Are Emphasized, Which Can Be Used To Offset “Dull” High Frequency Response In Inexpensive Equipment. However, Dolby B Provides Less Effective Noise Reduction Than Dolby A, Generally By A Factor Of More Than 3 Db.

From The Mid-1970s, Dolby B Became Standard On Commercially Pre-Recorded Music Cassettes In Spite Of The Fact That Some Low-End Equipment Lacked Decoding Circuitry, Although It Allows For Acceptable Playback On Such Equipment. Most Pre-Recorded Cassettes Use This Variant.

Dolby C :- Dolby C Was Introduced In 1980. It Provides About 15 Db Noise Reduction (A-Weighted). It Is Constructed By Combining The Effect Of Two Dolby B Systems Together With An Expansion To Lower Frequencies. The Resulting Recordings Sound Much Worse When Played Back On Equipment That Does Not Have Dolby C Noise Reduction. Some Of This Harshness Can Be Mitigated By Using Dolby B On Playback. Dolby C First Appeared On Higher End Cassette Decks In The 1980s. The First Commercially Available Cassette Deck With Dolby C Was NAD 6150c, Which Came Into The Market In Ca. 1981. It Was Also Used On Professional Video Equipment For The Audio Tracks Of THE BETACAM And Videocassette Formats. In Japan The First Cassette Deck With Dolby C Was The AD-FF5 From Aiwa.

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Old Movie Songs – Audio CD, Mp3,  – Audio Noise Reduction – When Using Analogue Tape Recording Technology, They May Exhibit A Type Of Noise Known As Tape Hiss. This Is Related To The Particle Size And Texture Used In The Magnetic Emulsion That Is Sprayed On The Recording Media, And Also To The Relative Tape Velocity Across The Tape Heads. This Kind Of Noise Problem & Volume Levelling Like Up & Down Problem Of Volume Variation Automatically, This Problem Is Present In Old Movie Tracks Of Old Movie’s And Old Movie Songs. With This Problem Old Movies Cannot Able To Enjoy The Classic Listening Beauty Of Movies And Songs. Our Sound Technology Which Eliminates Noise Problem Through Noise Reduction Characteristic Of Our New Sound Technology To Zero Level And Volume Variation Also Can Be Solved By Balancing The Levelling Of Audio. Totally Solving The Noise Hissing & Correction Of Accurate Volume  Level Balance To CD/Mp3/DVD Audio & Giving The New Dimension Of Listening Experience To Our Classics Of CD/MP3/DVD Old Movies, CD/MP3/DVD Old Movie Songs With Our New Sound Technology.

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Old Movie Video Songs – Audio Noise Reduction – The Old Movies And Old Songs  Which Are Been Telecasted By Your Media Channels Which Have Some Noise Which Is Not Able To Enjoy The Listening Beauty Of  Old Movies And Old Songs . In Our GMNC Digital Recording Studio We Will Eliminate Noise Problem Through Noise Reduction Characteristic To Zero Level. Volume Variation Also Can Be Solved By Balancing The Levelling Of Audio. Totally Solving The Noise Hissing & Volume Level Balance & Giving The New Dimension Of Listening Experience To Our Classics Of Old Movies, Old Movie Video Songs.

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More Technically, True Stereo Means Sound Recording And Sound Reproduction That Uses Stereographic Projection To Encode The Relative Positions Of Objects And Events Recorded. In A Common Stereo Setup Of Two Channels: Left And Right, One Channel Is Sent To The Left Speaker And The Other Channel Is Sent To The Right Speaker. Now, By Controlling To Which Channel You Send The Signal You Can Control The Position Of The Sound. You’ll Hear Sounds Coming From Different Directions Depending On Which Speaker You Send The Signal To, Or In Which Proportion (You Can Send Just A Little More To The Right Speaker, So The Sound Is Positioned Just A Little Bit To The Right). Sounds With Equal Proportions On Both Speakers Will Appear To Come From The Centre. In Other Words, Stereo Opens The Possibility Of Playing With Sound Localization.

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Old Movie Video Songs – Stereo Recording – The Old Video Songs Which Are In The Mono Recording Format Which Are Been Telecasted By The Media Channels Will Be Converted To Stereo Format In Our GMNC Digital Recording Studio Where All The Audio Signals Are Mixed Together And Routed Through A Stereo Audio. This Gives Smoothening Audio And Gives Classic Natural Listening Effects.

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Dolby Digital Is The Name For Audio Compression Technologies Developed By Dolby Laboratories. It Was Originally Named Dolby Stereo Digital Until 1994. Except For Dolby True HD, The Audio Compression Is Lossy. The First Use Of Dolby Digital Was To Provide Digital Sound In Cinema 35mm Film Prints. It Is New also Used For Application Such As HD TV Broadcast, DVD’s Blu-Ray Discs & Game Consoles. Dolby Digital Is The Common Version Containing Up To Six Discrete Channels Of Sound. The Most Elaborate Mode In Common Use Involves Six Channel For Normal Range Speakers (20Hz – 20,000Hz) – (Left, Center, Right, Surround Right, Surround Left ) & One Channel (20Hz – 120Hz Allotted Audio) For The Subwoofer Driven Low-Frequency Effects. Mono Audio Stereo Modes Are Supported AC-3 Supports Audio Sample-Rates 48Khz. The Laserdisc Version Of Clear And Present Danger Featured The First Home Theatre Dolby Digital Mix In 1995.

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5.1 Surround Sound (Five Point One) Is The Common Name For Six Channel Surround Sound Audio Systems. 5.1 Is Most Commonly Used Home Cinema. It Uses Five Full Bandwidth Channels (Left, Center, Right, Right Surround, Left Surround) And One Low-Frequency Effects Channel (The Point One) Dolby Digital Dolby Pro Logic II DTS & SDDS Are All Common 5.1 Audio Is Also The Standard Surround Sound Audio Component Of Digital Broadcast And Music. All 5.1 Systems Use The Same Speakers Channels And Configuration. Having A Front LEFT & RIGHT A CENTER Channel. Two Surround LEFT / RIGHT CHANNELS And A Subwoofer, Regarding Music. The Main Goal Of 5.1 Surround Sound Is A Proper Localization And Equability Of All Acoustic Sources For A Centered Positioned Audience. Therefore Ideally Five Matched Speakers Should Be Used. For Play-Back Of  5.1 Music Recommendation Of The International Telecommunication Union (ITU) Have Been Released And Propose The Following Configuration (ITU-R BS 775).

Dolby Digital 5.1 Audio Recording : –  Dolby Digital And DTS – With The Birth Of Dolby Surround In Movie Theatres, It Was Only A Matter Of Time Before We The Consumers Would Reap The Benefits Of This Trickle Down Technology Into The Consumer A/V Marketplace. However, This Would Soon Not Be Enough For A Society That Thrives On The “Bigger And Better” Mentality. We Wanted More. Enter Dolby’s Newest Creation, Dolby Digital (DD). For The First Time, A Fully Discrete Digital 5.1 Channel Surround Format Was Created For Both The Theatres And Home Audio Marketplace. When The Consumer-Electronics Industry DVD Working Group (DVDWG) Sought The Best Audio Coding Technology For The New Format Back In 1995, Dolby Labs Jumped At The Opportunity. Dolby Argued That Its Name Recognition, Familiarity With The Movie Industry, And The Choice Of Its System For Audio Coding In The New DTV Standard Made It A Logical Choice For DVD As Well. The DVDWG Agreed, And DD Was Selected As 1 Of 2 Required Soundtracks, The Other Being PCM, On All DVD Releases In The USA. The DVDWG Also Allowed For DTS And SDDS As Optional Soundtracks. A Year After This Occurrence, Digital Theatre Systems (DTS) Joined The Soiree Claiming Its Coding Method Sounded Better Due To Higher Bit Rates And Less Compression. The DVDWG Mandated That Any DVD Carrying A DTS Soundtrack Must Also Contain One Of Two Of The Previously Mentioned Required Soundtracks.

Today, When We Talk About Surround, What We Usually Mean Is 5.1 (‘Five-Point-One’ Or Often Just ‘Five-One’). A 5.1 System Comprises Five Full-Bandwidth Discrete Main Audio Channels (Hence The ‘5’) Plus A Restricted-Bandwidth Sub-Bass Signal (The ‘.1’) Called The LFE Channel (LFE Stands For Low Frequency Effects). Again, We Have Left, Right And Centre Speakers At The Front And Two Speakers At The Rear, But This Time The Rear Speakers (SL And SR) Carry Separate Full-Range Signals That Can Be Used In Any Way The Mix Engineer Sees Fit. What This Means Is That Sounds Can Be Positioned Much More Accurately In The Surround Environment.

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Old Movie Video Songs – Dolby Digital 5.1 Audio Recording – The Old Movie Songs Will Are Telecasted In The HD Media Channels Will Also Be In The Mono Format By This Format The Audio Will Not Split Into All Channels Of The Home Theatre.In Our GMNC Digital Recording Studio We Can Re Audio Mastering Old Movie Songs Mono 2Ch Audio To Dolby Digital 5.1 Ch Audio Recording Have New Dimension With New Listening Sound Effects And Classic Old Movie Songs Stuff To New One With 5.1 Channels Of High-Quality Audio, Dolby Digital Places You In The Centre Of The Action. It Expands The LEFT / RIGHT / CENTER / LFE / & Surround LEFT / RIGHT Traditional 5.1 Ch Audio.

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The Established Standard For Home Theatre, Broadcast, And Cinema Surround Sound, Dolby Digital 5.1 Redefined The Entertainment Experience For Audiences Around The World. Efficient 5.1 Sound At Its Core, Dolby Digital Technology Represents A Very Efficient Way For Movie Studios, Television Networks, And Other Content Providers To Compress The Size Of Multichannel Audio Files Without Impairing The Sound Quality. The Smaller The File, The Easier It Is To Distribute. With Dolby Digital Audience To Experience Greater Realism And Excitement. With The Advent Of Digital Audio Revolution, Consumers & Listeners Are Continually Demand Higher Performance. As Technology Improves And Becomes More Competitive, Increased Performance Is Realized At Lower Cost To The Consumer. The Market Floods With Newer And Newer Technology, Allowing Consumers To Be Less Easily Impressed And More Picky, Sometimes Losing Touch With What Was Involved In Producing This Marvel Of Technology That Only A Few Years Ago, Would Have Been A Nearly Impossible Feat. Dolby Digital Is The Common Version Containing Up To Six Discrete Channels Of Sound. The Most Elaborate Mode In Common Use Involves Five Channels For Normal-Range Speakers (20 Hz – 20,000 Hz) (Right, Centre, Left, Right Surround, Left Surround) And One Channel (20 Hz – 120 Hz Allotted Audio) For The Subwoofer Driven Low Frequency Effects. Mono And Stereo Modes Are Also Supported. AC-3 Supports Audio Sample-rates Up To 48 KHz.

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DVD 9 – Blue-Ray, Movie Mastering – Presently HD Video Mastering Using DVD-9 & Blue Ray Discs In Double Layer (Also Referred To As Dual Layer) DVD-9 Discs, Two Layers Of Standard DVD-5 Are Joined Together With A Transparent Spacer And A Thin Reflector Between The Two. The Bottom Layer Is Read And Written To In Exactly The Same Manner As DVD-5. Reading And Writing To The Second Layer Is Achieved By The Laser Focusing A Fraction Of A Millimetre Beyond The First Recording Layer. The DVD-9 Format Is Not As Common As The Dvd-5 Format As The 4.7GB Capacity Of The DVD-5 Discs Is Usually Sufficient For Most Business Uses, Although Many DVD Films Will Use DVD-9 Format If The Film Length Is Over 120 Minutes.

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Blue-Ray, Also Known As Blue-Ray Disc (BD) Is The Name Of A New Optical Disc Format That Is Rapidly Replacing DVD. The Format Was Developed To Enable Recording, Rewriting And Playback Of High-definition Video (HD), As Well As Storing Large Amounts Of Data. The Format Offers More Than Five Times The Storage Capacity Of Traditional DVD’s And Can Hold Up To 25GB On A Single-layer Disc And 50GB On A Dual-Layer Disc. Blue-Ray Is An Optical Disc  Format Designed To Display High Definition Video And Store Large Amounts Of Data. Blue-Ray, Also Known As Blue-Ray Disc (BD) Is The Name Of A New Optical Disc Format That Is Rapidly Replacing DVD. The Format Was Developed To Enable Recording, Rewriting And Playback Of High-Definition Video (HD), As Well As Storing Large Amounts Of Data. The Format Offers More Than Five Times The Storage Capacity Of Traditional DVD’s And Can Hold Up To 25GB On A Single-Layer Disc And 50GB On A Dual-Layer Disc.

Blue-Ray Is The Successor To DVD. The Standard Was Developed Collaboratively By Hitachi, LG, Matsushita (Panasonic), Pioneer, Philips, Samsung, Sharp, Sony, And Thomson. It Became The Default Optical Disk Standard For HD Content And Optical Data Storage After Winning A Format War With HD-DVD, The Format Promoted By Toshiba And NEC. In Our New Sound Technology Audio Formats Can Be Incorporated To These DVD-9 & Blue Ray Discs Also.

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Dolby Digital 5.1 Audio – In Our GMNC Digital Recording Studio we will do Dolby Digital 5.1 Audio Mastering for DVD9 & Blu-ray Disk.  The Audio Output Volume Levels Are Equal In Position And Audio Quality In Terms Of Low Frequency Are Also Equal In Position And The Missing Information In The Audio Track Will Be Recognized And It Will Be Highlighted In Our Technology Of 5.1 Ch. Which Comes With Left / Right / Centre / LFE & Surround Left / Right  Of Sound Effects, Room To Expand As Effects For The Listener Adding  New Channels In The  Listening Entertainment Naturally To Deliver An Enveloping Of Sound

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Dolby Digital 5.1 Audio (7.1 Ch Sound Mix) – In Our GMNC Digital Recording Studio we will do Dolby Digital 5.1 Audio Mastering with  (7.1Ch Audio Mix) Format Of 7.1 Ch for DVD9 & Blu-ray Disk.  Which Comes With Left / Right / Centre / LFE & Surround Left / Right Of Sound Effects &. Virtual Back Surround & Virtual Top Surround Left / Right, Room To Expand As Effects For The Listener Adding New Channels In The Virtual Listening Entertainment Naturally To Deliver An Enveloping 360 Degrees Of Sound.

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The Subconscious Mind Is Highly Sensitive To Sound Origins And Character. So, We Expect A High Degree Of Auditory Coherence Between Sounds In Order To Register Them As Genuine. Since We Instinctively Sense When Sound Information Is Inauthentic, Recorded Audio Only Sounds ‘Life-Like’ To The Human Ear When It Maintains A Full, Natural Consistency. True Immersion Is Achieved When Audiences Are Offered Nothing Less Than A Natural Auditory Spread. 3D DSRS 5.1 Ch – (Three Dimensional Digital 5.1 Surround Sound) 4 Layer 3D Audio Mixing Recording Features The Critical Component In The Accurate Playback Of Native 3D Audio Content – Height – By Using A Speaker Layout That Constructs Three Vertical Virtual Layers & Three Horizontal Virtual Layers Around The Listener. This Advanced Configuration Is Capable Of Reproducing Highly Accurate, Native 3D Audio For A Superior Immersive Experience. Height Layer (30° Above The Lower Layer): The Most Important Layer In The Creation Of Immersive Sound Around The Listener. The Capturing Of Ambient Reflections In This Layer Allows To Deliver A More Natural Sound & Improve Sound Source Localization. Multi track Recording Is a Process Where the Tape Is Divided into Multiple Audio Tracks Parallel with Each Other. Because They Are Carried On The Same Medium, The Tracks Stay In Perfect Synchronisation. Multi track Recording – Also Known As Multi tracking, Double Tracking, Or Tracking—Is A Method Of Sound Recording That Allows For The Separate Recording Of Multiple Sound Sources To Create A Cohesive Whole. Multi tracking Became Possible With The Idea Of Simultaneously Recording Different Audio Channels To Separate Discrete “Tracks” On The Same Tape – A “Track” Was Simply A Different Channel Recorded To Its Own Discrete Area On Tape Whereby Their Relative Sequence Of Recorded Events Would Be Preserved, And Playback Would Be Simultaneous Or Synchronized. Which Gives New Dimension Of Sound And Its Splitting Effects And Listening Angle Coverage Of 360 Degrees Naturally And Eliminating The Errors By Recognizing The Hidden Information Of Composition And Bringing Them Natural Placement For Superb Listening Experiences Without Any Disturbing The Original Track Of Audio. Our  Sound Technology For Film Industry Is Naturally Suitable For All Kinds Of Movies & Creating New Listening Areas Sidewise & Above & Below Naturally By Eliminating The  Screen Blank Areas And Filling The Areas Naturally Creating The Virtual Effects Of Sound Wherever It Is Necessary With The Visualization. Our New Patent Filed Sound Technology Gives Totally New Dimension Of  Sound Technology Revolution To Film Industry Entertainment To Next  Level.

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3D DSRS 5.1 Ch  Audio Recording – 3D DSRS 5.1 Ch  Audio (Three Dimensional Digital Surround Sound) Means That What You Hear Is Bit-for-Bit Identical To The Master Recording. This Provides The Most Authentic Surround Sound Experience Available For Your 5.1 Home Theatre. By Enabling the Maximum Audio Fidelity Possible On These Discs & Bringing You One Step Closer To the Source. In Our GMNC Digital Recording Studio we will do 3D DSRS 5.1 Ch  Audio Recording & Mastering (Three Dimensional Digital Surround Sound) Format Of 5.1 Ch With 3D Sound For DVD9 & Bluray Disks. Which Comes With Left / Right / Centre / LFE / & Surround Left / Right  With 3 Dimensional Virtual Sound Effects Of Virtual Front Mid Top Left / Right & Virtual Front Mid Bottom Left / Right & Virtual – Back Surround Left / Right & Virtual Top Surround Left / Right Of 3 Dimensional Surround Sound Effects, Room To Expand As Effects For The Listener Adding New Channels In The Virtual Listening Entertainment Naturally To Deliver An Enveloping 360 Degrees Of Sound.

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With The Advent Of Home Theatre, Consumers Are Continually Demand Higher Performance. As Technology Improves And Becomes More Competitive, Increased Performance Is Realized At Lower Cost To The Consumer. The Market Floods With Newer And Newer Technology, Allowing Consumers To Be Less Easily Impressed And More Picky, Sometimes Losing Touch With What Was Involved In Producing This Marvel Of Technology That Only A Few Years Ago, Would Have Been A Nearly Impossible Feat. I Remember The Days When I Used To Hook Up My 2 Channel Audio System To My Mono VCR And Thought Life Was Good. Well, I Must Say Since Then, Life Has Gotten A Whole Lot Better In The Realm Of Audio.

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Dolby Digital Is The Common Version Containing Up To Six Discrete Channels Of Sound. The Most Elaborate Mode In Common Use Involves Five Channels For Normal-range Speakers (20 Hz – 20,000 Hz) (Right, Centre, Left, Right Surround, Left Surround) And One Channel (20 Hz – 120 Hz Allotted Audio) For The Subwoofer Driven Low Frequency Effects. Mono And Stereo Modes Are Also Supported. AC-3 Supports Audio Sample-rates Up To 48 KHz. Presently Market Has DVD Movies Are In Single Title Movie DVD With 5.1 Ch Audio Of Dolby Digital Is Available But For 3in1 Movie DVD Collections Doesn’t Have 5.1 Ch Audio Of Dolby Digital &. It Contains Only Stereo And Even Sometimes The Mono Audio Also. In Our Technology Of Dolby Digital 5.1 Ch Audio Recording Not Only Single DVD Gets The Technology But In Our Technology All 3in1 DVD Movie Collection Will Be Having Dolby Digital 5.1 Ch Audio. With Our New Sound Technology We Can Increase The Quality Of  DVD 3in1 Movie Collection By More Than 40% For Superb Viewing Experience & Enjoy Watching With Superb Quality Movies & Videos In Our DVD 3in1 Movie Collection.

DVD 3in1 Movie Collection With Dolby Digital  If Pirated The Video Quality Gets Noisy, But Our Technology Incorporated (Mastering Technology) Dolby Digital 5.1 Ch Audio Recording Cannot Be Pirated Because It Provides An Antipiracy Mechanism. Even If Use Any Sophisticated DVD Piracy Software also It Cannot be Copied. Keeping Audio & Video Quality Intact and Provides The End User Totally Have An Enjoyable Audio & Video Experience.

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Also Known As High-Definition Audio Or HD Audio, Is A Marketing Term Used By Some Recorded-Music Retailers And High-Fidelity Sound Reproduction Equipment Vendors. It Refers To Higher Than 44.1 Khz Sample Rate And /Or Higher Than 16-Bit Linear Bit Depth. It Usually Means 96 Khz (Or Even Much Higher), Sometimes Informally Written As “96k”, Meaning A Nyquist Frequency Of 48 Khz, Which Is Outside Of The Hearing Range Of Any Human Ear. There Is No Standard Definition For What Constitutes High-Resolution Audio, But It Is Generally Used To Describe Audio Signals With Bandwidth And / Or Dynamic Range Greater Than That Of Compact Disc Digital Audio (CD-DA, Informally CDS). This Includes Pulse-Code Modulation (PCM) Encoded Audio With Sampling Rates Greater Than 44,100 Hz And With Bit-Depths Greater Than 16, Or Their Equivalents Using Other Encoding Techniques Such As Pulse-Density Modulation (PDM). Although There Is No Firm Definition, Sony Describes High-Resolution Audio Devices As Those That Deliver Audio That’s Clearer, Sharper And More Complex Than Other Music Sources And Closer To The Original. File Formats Capable Of Storing High-Resolution Audio Include FLACALACWAVAIFF And DSD, The Format Used By Super Audio Compact Discs (SACD).

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HD Audio Recording – HD Audio Recording That What You Hear Is Bit-for-Bit Identical To The Master Recording. This Provides The Most Authentic Surround Sound Experience Available For Your 2.1Ch Home Theatre. By Enabling The Maximum Audio Fidelity Possible On These Discs & Bringing You One Step Closer To The Source. The Video Songs which are telecasted in the Audio/Video Entertainment are been Re Audio mastered. In Our GMNC Digital Recording Studio to HD Audio Recording Format Which Creates Left, Right & Virtual Centre Of Virtual Sound Effect For The Listener to Enjoy the Songs with higher Experience than before.

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Wide Stereo Technology Gives You An Immersive Sound Experience That Will Have You Playing Along To Your Audio Tracks For Hours. Hear Your Playing All Around The Room And Amaze Your Audience With Surround Sound. Widening Of The Stereo Can Be Achieved By Manipulating The Relationship Of The Side Signal S And The Center Signal C: C = {\\Frac{L + R}2}; S = {\\Frac{L – R}2}. A Positive Part Of The Side Signal S Is Now Fed Into The Left Channel And A Part With Its Phase Inverted To The Right Channel. Some Boom Boxes Feature Such A Process. Another Way Of Looking At This Same Effect, Without Extrapolating A Center And Side Signal From The Left And Right Signals, Is To Simply Add The Left Signal, Slightly Attenuated And Phase Inverted, Into The Right Channel And Vice-Versa. Taking This A Step Further, A Small Delay (20-100ms) Can Be Added To The Inverted Signal Before Mixing It Back In To The Original For Output, Adding A Slight Reverberation To The Effect.

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Wide Stereo Recording – Wide Stereo Recording Means That What You Hear Is Bit-For-Bit Identical To The Master Recording. This Provides The Most Authentic Surround Sound Experience Available For Your 2.1Ch Home Theatre. By Enabling The Maximum Audio Fidelity Possible On These Discs & Bringing You One Step Closer To The Source.

The Video Songs Which Are Telecasted In The Audio/Video Entertainment Are Been Re Audio Mastered. In Our GMNC Digital Recording Studio To Wide Stereo Recording Format Of Which Also Creates Virtual Centre, Virtual Left & Virtual Right Of Virtual Sound Effects, Room To Expand As Wide Effects For The Listener Adding  New Channels In The Virtual Listening Entertainment Naturally Where The Left & Right Speakers Of An 2.1ch Home Theatre Are Placed In A Single Place Or With The Help Of Speakers Inbuilt  In A Television.

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3D Audio (Three-Dimensional Audio) Is A Simulation Of The Natural Positioning Of Sounds For Various Applications Including Video Presentations And Games, Virtual Environments And Sound Stages. 3D Audio Relies On A Variety Of Technologies To Create A More Life-Like Or Dramatic Immersive Experience For Music, Movies, Video And Video Games As Well As Virtual Reality (VR). The Technologies Are Also Used For Training Simulations, Educational Applications And Even Therapy.Some 3D Audio Techniques Use Manually Mixed Tracks For Voice, Instruments, Ambient Sounds And Sound Effects That Are Spread Among Two Or More Speaker Channels. Stereo, Quadrophonic And Numerous Multi-Speaker Surround Sound Technologies Are Produced This Way. Binaural 3D Audio Is Produced By Recording With Dual Microphones.

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This Is An Old Technique Often Adopted By Modern Applications. Some Binaural Microphones Simulate Human Hearing Simply By Placement Of The Microphones. Others Based On Biomimicry (The Imitation Of Naturally-Occurring Systems) Include Anatomic Models Of The Human Ear Or Even The Entire Head. Binaural 3D Audio Is Particularly Well Suited To Virtual Reality Because It Is Easier To Produce Than Other Methods And Also Helps Keep Down The Weight Of VR Headsets Because It Operates With Only Two Speakers.As Is Often The Case, Proprietary Technologies And A Lack Of Standardization Are Hindering Development Of The Industry.  Licensing Of Some Technologies Used For 3D Audio Can Be Quite Expensive, And There Are Many Competing Formats. The Pioneering Dolby Labs, For Example, Offers A Large Number Of 3D Audio Formats Based On Various Numbers Of Speakers. Other 3D Audio Companies Include 3D Audio, AURO, DYSONICS, OSSIC, REALSPACE, SENNHEISER AND VISISONICS.

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3D Audio Recording – 3D Audio Recording Means That What You Hear Is Bit-for-Bit Identical To The Master Recording. This Provides The Most Authentic Surround Sound Experience Available For Your 2.1Ch Home Theatre. By Enabling The Maximum Audio Fidelity Possible On These Discs & Bringing You One Step Closer To The Source. The Video Songs which are telecasted in the Audio/Video Entertainment are been Re Audio mastered.In Our GMNC Digital Recording Studio to f3D Audio Recording Formats Of Which Creates Virtual Centre, Virtual Mid Left & Virtual Mid Right & 3 Dimensional Sound Effects Of Listener Left, Right & Centre Along With Back Virtual Surround Left / Right Effects Room To Expand As Effects For The Listener Adding New Channels To Deliver An Enveloping 360 Degrees Of Sound The Virtual Listening Entertainment Naturally.

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3D DSRS Wide Audio Recording – 3D DSRS Wide Audio Recording Means That What You Hear Is Bit-for-Bit Identical To The Master Recording. This Provides The Most Authentic Surround Sound Experience Available For Your 2.1Ch Home Theatre. By Enabling The Maximum Audio Fidelity Possible On These Discs & Bringing You One Step Closer To The Source. The Video Songs which are telecasted in the Audio/Video Entertainment are been Re Audio mastered.In Our GMNC Digital Recording Studio to 3D DSRS Wide Audio Recording Formats Which Creates & 3 Dimensional Sound Effects  like Virtual Centre, Virtual Left / Right, Virtual Mid Left / Right , Virtual Surround Left / Right & Virtual Back Surround. Room To Expand As Effects For The Listener Adding New Channels To Deliver An Enveloping 360 Degrees Of Sound The Virtual Listening Entertainment Naturally by placing the Speakers In a single place.

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:- In Natural Hearing It Is Readily Observed That Sounds Are Heard From Specific Locations. Humans Clearly Hear In Three Dimensions: Sounds Are Perceived From Above, Below, Any Direction, And Any Distance. Binaural Hearing, As Natural Three-Dimensional Hearing Is Known, Also Uniquely Conveys Intimacy Or Urgency When Sounds Come Close. Sounds In The Listener’s “Sacred Space” Can Be Impossible To Ignore: Binaural Hearing Is The Body’s Natural Sensor At Very Close Range. Binaural Hearing, Like Normal Stereo, Is A Two-Channel Process: Normal Stereo Equipment Will Play Binaural Sound. A Binaural Signal Is Different From Everyday Stereo In That The Left And Right Signals Have Complex Signal Shaping Which Causes The Listener To Imagine The Sound To Be Three-Dimensional And In The Correct Location. Many People See Technology As A Solution To Some Of The Problems That Exist On Our Planet. It’s True That Technology Can Be Used For Good, But With New Developments Come New Challenges Issues. The Digital Divide Is One Such Issue, One That People Are Actively Trying To Overcome.

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3D DSRS 2Ch Audio – Headphone Technology – Gives The Remarkable Answer That Is The Output Volume Levels Are Equal In Position And Audio Quality In Terms Of Treble & Bass Are Also Equal In Position And The Missing Information In The Audio Track Will Be Recognized And It Will Be Highlighted In Our Technology (Today’s Existing Sound Recorded Technology – The Disadvantages Are Volume/Treble And Bass Get Varies From One Movie Audio Track To Another Movie Audio Track) And Lot Of Missing Information Will Be Recognized In The Original Sound Tracks When Converted And Compared Into 3D DSRS 2Ch Audio Recording (3D Sound Head Phone Technology)

This technology is useful for all the Audio/Video Entertainment for listening the audio in 3 dimensional surround sound with the help of headphones where they telecast the programs with the help of internet (YOUTUBE,YUPTV, HOTSTAR etc..).

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