Social Media Entertainment

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Social Media Are Computer-Mediated Tools That Allow People To Create, Share Or Exchange Information, Ideas, And Pictures/Videos In Virtual And Networks. Social Media Is Defined As “A Group Of Internet-Based Applications That Build On The Ideological And Technological Foundations Of Web 2.0, And That Allow The Creation And Exchange Of User-Generated Content. “Furthermore, Social Media Depend On Mobile And Web-Based Technologies To Create Highly Interactive Platforms Through Which Individuals And Communities Share, Co-Create, Discuss, And Modify User-Generated Content. They Introduce Substantial And Pervasive Changes To Communication Between Businesses, Organizations, Communities, And Individuals. These Changes Are The Focus Of The Emerging Field Of Techno Self Studies. Social Media Differ From Traditional Or Industrial Media In Many Ways, Including Quality, Reach, Frequency, Usability, Immediacy And Permanence. Social Media Operates In A Dialogic Transmission System, (Many Sources To Many Receivers).This Is In Contrast To Traditional Media That Operates Under A Mono Logic Transmission Model (One Source To Many Receivers).

Social Media Entertainment Blends Entertaining Interactive Functionality & Content Including Live Video Streaming, Video Chat Communications, Multi-Player Gaming, Music And Videos Streaming, With Social Networking Service Such As Social Graph Management, Forums, Reviews, Ratings, And Gee Location Options. It Is The Foundation For A More Immersive, Interactive, Enriching And Engaging Content Consumption Experience Through Social Channels. Social Entertainment Is Distinct From Social Networking Websites In That The Former Is Based Fundamentally On Immersive Engaging Experiences With Functionality, Content And People, While The Latter Is Based Primarily On Building And Maintaining Relationships With Other Users. Typically, Social Entertainment Is Defined By The Individual Sites Dedicated To A Particular Type Of Entertainment Experience Incorporating Basic Social Networking Services.

Within The Realm Of Social Entertainment, Online Content Is Tightly Intertwined With Social Features. These Interactions Around The Content Create A Highly Personalized Experience For Users Which, In Turn, Drives A Virtuous Cycle Of Ongoing Consumer Engagement For Service Providers. In This Sense, Social Entertainment Refines The Paradigm Established By Social Networks, In Which Interactions With Others Are Central & Reasons For Interacting With Them Are Secondary.

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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). ItIs 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 In 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 FerricOr  OxideMagnetite), 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 Pre Amphasis 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 Amphasis 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 ADolby 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 Cutoff 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 Ampex; 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 BA Typical Front Loading Consumer Autoreverse 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 CDolby 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 NAD6150c, 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 Video Songs – Audio Noise Reduction :-The Old Movies And Old Songs  Which Are Been Telecasted By Your Social Media Entertainment 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 ProjectionTo 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 With Stereo-The Old Video Songs Which Are In The Mono Recording Format Which Are Been Telecasted By The Social Media Entertainment 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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High-Resolution Audio, 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,[3] 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 CD’s).[2] This Includes Pulse-Code Modulation (PCM) Encoded Audio With Sampling Rates Greater Than 44,100 Hz And With Bit-Depths Greater Than 16,[2] 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 :-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 Social Media Entertainment Are Been Re Audio Mastered.In Our GMNC DigitalRecording StudioTo 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 Social Media Entertainment Are Been Re Audio Mastered.In Our GMNC DigitalRecording StudioTo 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. 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 Social Media Entertainment Are Been Re Audio Mastered.In Our GMNC DigitalRecording StudioTo F 3D 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.

3D Wide Stereo Recording:- 3D DSRS 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 Social Media Entertainment Are Been Re-Recording & Audio Mastered. In Our GMNC Digital Recording StudioTo 3D DSRS Wide Stereo 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 Wide Stereo  – 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 Into3D DSRS Wide Stereo  Recording (3D Wide Stereo Head Phone Technology)

This Technology Is Useful For All The Social Media 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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YouTube Is A Free Video Sharing Website That Makes It Easy To Watch Online Videos. You Can Even Create And Upload Your Own Videos To Share With Others. YouTube Is Now One Of The Most Popular Sites On The Web, With Visitors Watching Around 6 Billion Hours Of Video Every Month & It’s A Today’s Powerful Social Media Entertainment Network Also In The World. One Reason YouTube Is So Popular Is The Sheer Number Of Videos You Can Find. On Average, 100 Hours Of Video Are Uploaded To YouTube Every Minute, So There’s Always Something New To Find! And You’ll Find All Kinds Of Videos On YouTube.

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Gmnc Movie’s & Gmnc Entertainment Is Using 3D Surround Sound Technology To Give Away New Listening Experience To Audiences & Our Videos.3D Surround Sound Technology Is 3 Dimensional Audio Effects Are A Group Of Sound Effects That Manipulate The Sound Produced By Stereo Speakers, Surround-Sound Speakers, Speaker-Arrays, Or Headphones. This Frequently Involves The Virtual Placement Of Sound Sources Anywhere In Three-Dimensional Space, Including Behind, Above Or Below The Listener. In Our New Sound Technology To Deliver Crystal Clear Sound And It Covers The Wide Angle 3D Audio For Movies &Video Songs To Enjoy Breath-Taking Optimal Performance Even For Social Media Entertainment.

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