Here are some audio and video trends for 2019:
The global Hi-Fi Systems market was valued at million US$ in 2018 and is expected to grow. EISA Awards has selected Hi-Fi product category winners, but I did not see anything really fancy new innovations that would excite me there. The Hi-Fi speaker market has seen considerable consolidation over the years but is expected to grow. The global Hi-Fi speaker system market is highly competitive. Various established international brands, domestic brands and as well as new entrants form a competitive landscape. The market is expected to have higher growth rate as compared to the previous years due to the booming electronic industry globally. It is due to the rising income of individuals globally and increasing affordability of technology products globally. Due to technological adoption and smart gadgets, North America region is showing steady growth in the Hi-Fi speaker system market. On technology standpoint the Hi-Fi market is mainly based on pretty much stabilized technology as class D amplifiers have been on mainstream for many years.
Smart TVs are everywhere. The vast majority of televisions available today are “smart” TVs, with internet connections, ad placement, and streaming services built in. Despite the added functionality, TV prices are lower than ever. Your new smart TV was so affordable because it is collecting and selling your data. It is clear that TV companies are in a cutthroat business, and that companies like Vizio would have to charge higher prices for hardware if they didn’t run content, advertising, and data businesses. Google wants sensors and cameras in every room of your home to watch, analyze, you, patents show.
Streaming services competition stays high. Apple’s embracing the TV industry for the first time: Vizio and LG TVs will support AirPlay 2 and HomeKit, while Samsung TVs will get an iTunes Movies & TV app, as well as AirPlay 2 support. Google and Amazon are playing are important players on smart speaker markets.
4K video resolution is still as hot as in 2019 – it us becoming mainstream and getting cheaper. Peraso showcases 4K wireless video at CES 2019. LG has produced a market-ready rollable OLED TV. The new 75-inch 4K Micro LED TV announced at CES 2019 proves Samsung is serious about scaling the technology to do battle with OLED. But it seems that even in 1029 “4K” trend remains woefully deficient from a compelling-content-availability standpoint. CES 2019 is already full of weird and wonderful monitors.
But new higher 8K resolution is being pushed to market. The “8K” (resolution) tagline was apparently everywhere at CES this year. Samsung announced a 98-inch 8K TV because why not. LG has come strong to CES 2019 with an 88-inch 8K OLED TV, a 75-inch 8K LED/LCD TV, HDMI 2.1, new auto calibration features, Alexa built in, and many more features. It seems that this ongoing evolution is occurring out of necessity: as a given-size (and -pixel-dense) display becomes a low profit margin commodity, manufacturers need to continually “up-rev” one or both key consumer-attention-grabbing parameters (along with less quantifiable attributes like image quality) in order to remain profitable … assuming they can continue to stimulate sufficient-sized consumer demand in the process. I am not sure if they can stimulate 8K to mass market in next few years.
Wall size TVs are coming. Samsung announced a modular TV at CES. Samsung first showcased this MicroLED TV technology at CES 2018, showcasing how the screens were composed of millions of individual LEDs. Individuals screens could be combined to create massive displays, which the company calls The Wall TV. The wall-sized displays shown in recent years at CES are, in my opinion, quite ridiculous, at least for the masses.
HDMI updates are coming. At present, the HDMI equipment uses the 2.0 standard (adopted in 2013) tht provides support for example for 4K video. HDMI Forum announced a new 2.1 standard already in November 2017, but it just starter showing in CES in January 2019. 8K fiber-optic HDMI cables seen at CES 2019. The 2.1 standard is a big change in technology at the bus bandwidth increases from 18 gigabit to 48 gigabits per second. This enables up to 10K video transmission and up to 120 frames per second.
Bendable displays are really coming to PCs and smart phones. LG’s “rollable” display shown this year neatly showcased the technology’s inherent flexibility while also addressing the question of how to hide a gargantuan display when it’s not in use. Several foldable smart phones have been shown. Chinese company Royole was showing off the FlexPai at CES in Las Vegas.
Micro displays for VR and AR glasses have developed. MicroLED is better looking, more efficient and more versatile than any previous display tech. Now all Samsung, Sony, LG and others have to do is figure out how to manufacture it affordably.Nanoco Technologies and Plessey Semiconductors have partnered to shrink the pixel size of monolithic microLED displays using Nanoco’s cadmium-free quantum-dot (CFQD quantum dots) semiconductor nanoparticle technology. Microchips and organic LEDs that deliver 4K-like high resolution displays a quarter of the size and half the weight of existing virtual reality (VR) headsets have been developed under a European Union project. Marc Andreessen says VR will be “1,000” times bigger than AR even though VR seems to be the popular whipping boy amongst the tech community.
There seems to be no shortage of angst with the current (and unfortunately burgeoning) popularity of usage of the term artificial intelligence (AI). Intelligence has been defined in many ways which makes it hard to get good picture on what is going on. I am still waiting for sensible intelligent AI to do something useful. But the ability for a sufficiently trained deep learning system to pattern-match images, sound samples, computer viruses, network hacking attempts, and the like is both impressive and effective.
Potential problems related to the coming of self-driving car technologies and cameras are expected. A man at CES in Las Vegas says that a car-mounted lidar permanently damaged the sensor in his new $1,998 Sony a7R II mirrorless camera. Man says CES lidar’s laser was so powerful it wrecked his $1,998 camera because the LIDAR laser power rules ensure lasers are safe for human eyes—but not necessarily for cameras. Is this something that camera and car manufacturers need to figure out together?
2019 Will Be the Year of Open Source from software and even hardware. Open source video player app VLC has now reached 3 billions downloads.
When almost all AV products are pushing more and more features, it seems that almost Everything is too complicated for an average Joe.
1,491 Comments
Tomi Engdahl says:
Serving Netflix Video at 400Gb/s on FreeBSD https://people.freebsd.org/~gallatin/talks/euro2021.pdf
Tomi Engdahl says:
https://hackaday.com/2021/09/17/robotray-is-a-secret-tea-butler/
Tomi Engdahl says:
https://www.iflscience.com/plants-and-animals/winners-of-the-ocean-photography-awards-2021-revealed-and-theyre-incredible/
Tomi Engdahl says:
https://www.edn.com/teardown-dissecting-snaps-third-gen-ar-glasses/
Tomi Engdahl says:
https://www.iflscience.com/plants-and-animals/thread-of-animals-interrupting-wildlife-photographers-is-the-ultimate-timeline-cleanser/
Tomi Engdahl says:
https://www.iflscience.com/brain/this-blue-or-green-spectrum-illusion-depends-on-how-your-brain-perceives-color/
Tomi Engdahl says:
https://www.gradient.fi/fi/content/9-gradientin-tarina
Tomi Engdahl says:
https://www.facebook.com/637758527/posts/10158597406288528/
Apple iPhone 13 mahdollistaa cinematic modessa videokuvaamisen niin, että voit jälkikäteen säätää aukkoa (f-lukua), tarkennuspistettä (syvyysterävyys). Tämä toistaiseksi toimii vain 1080p-moodissa, ei siis 4k:na, mutta upotetun lyhyen demon perusteella tulokset ovat vakuuttavia. Kuvanlaatu on ehkä oikeasti tarkkuuden suhteen 720p, mutta dynamiikka ja värit ovat niin hyviä, että se olisi jopa moneen TV-käyttöön riittävä.
TV-sarjan ja leffan voi kuvata älypuhelimella helpommin kuin järkkärillä ja jälkikäsittelymahdollisuudet vain paranevat. Missähän vaiheessa älypuhelimilla voisi kuvata RAW-videota? 8k onnistuu jo ja jopa minun monta vuotta vanhaa tekniikkaa edustava Samsung S10+ kuvaa varsin pätevää 4k HDR-videota.
Did Apple’s iPhone 13 ‘Cinematic Mode’ just revolutionize mobile cinematography?
https://m.dpreview.com/articles/5269208817/did-apple-iphone-13-cinematic-mode-just-revolutionize-mobile-cinematography?utm_source=Facebook-share&utm_medium=desktop-article-header&utm_campaign=social-sharing
Apple has just announced its iPhone 13 lineup, and one of the stand out features is the new ‘Cinematic Mode’. On the iPhone 13 Pro and iPhone 13 Pro Max models, Cinematic Mode allows you to adjust the aperture, or f-stop, to change the depth-of-field effect after you’ve shot your video. It also allows you change what’s in focus, or rack focus from one subject to another, after-the-fact.
Remember the Lytro Cinema camera the size of a small car that promised the same thing? Think that… but in your pocket.
When Cinematic Mode is enabled, the iPhone 13 and 13 Pro models generate a depth map in video, which software can later use to selectively blur the foreground and background and simulate any chosen f-stop. Presumably, it can do so either by simple learning-based segmentation (identification of human or primary subjects) or by using the stereo disparity between the wide and ultra-wide cameras.* While the larger sensors in these phones will lend the footage shallower native depth-of-field than previous phones, the depth map allows for additional computational blur much like the Portrait Mode that is so popular on smartphone devices these days.
Tomi Engdahl says:
https://m.dpreview.com/news/0661906932/samsung-shares-new-promotional-video-for-its-pixel-packed-200mp-hp1-mobile-image-sensor?utm_source=Facebook-share&utm_medium=desktop-article-header&utm_campaign=social-sharing
Tomi Engdahl says:
Flip your computer monitor vertically. It will change your life.
Get the most out of your screen real estate.
https://www.popsci.com/diy/vertical-monitor-setup/
Tomi Engdahl says:
The Very First Webcam Was Invented to Keep an Eye on a Coffee Pot at Cambridge University
https://www.openculture.com/2021/09/the-very-first-webcam-was-invented-to-keep-an-eye-on-a-coffee-pot-at-cambridge-university.html
Younger readers will have to imagine even that being a cutting-edge thrill, but we didn’t really feel like we were living in the future until the fall of 1993, when XCoffee first went live.
This groundbreaking technological project “started back in the dark days of 1991,” writes co-creator Quentin Stafford-Fraser, “when the World Wide Web was little more than a glint in CERN’s eye.”
Tomi Engdahl says:
http://whirlwindusa.com/support/tech-articles/wiring-mass-connectors-faq/
Tomi Engdahl says:
http://raverrafting.com/10-photos-of-abandoned-nightclubs-from-around-the-world/2013/09/24/
Tomi Engdahl says:
Music visualizers
https://www.musicbeam.org/
https://www.plane9.com/
https://www.vsxu.com/
Tomi Engdahl says:
How Good Are The Head(amame) 3D Printed Headphones?
https://hackaday.com/2021/09/27/how-good-are-the-headamame-3d-printed-headphones/
3D printing lets the average maker tackle building anything their heart desires, really, and many have taken to using the technology for audio projects. Printable speaker and headphone designs abound. The Head(amame) headphones from [Vector Finesse] are a design that combines 3D printed parts with hi-fi grade components to create a high-end listening experience. [Angus] of Maker’s Muse decided to try printing a set at home and has shared his thoughts on the hardware.
Should you 3D Print Headphones? Head(amame) review
https://www.youtube.com/watch?v=YAR-1Z9nAAo
Tomi Engdahl says:
The Fake Sounds Companies Add To Products – Cheddar Explains
https://www.youtube.com/watch?v=rZOpDve8ARA
There’s a reason your vacuum, car, potato chips, and many other products are way louder than they need to be. Cheddar explains why sound design is so important for products, and how that subconsciously affects us on a daily basis.
Tomi Engdahl says:
Why The Human Eye Is A Design Disaster – Cheddar Explains
https://www.youtube.com/watch?v=fPnYH06VJVo
Over 24 million adults in the United States have eye issues: Either you’re born with eye issues, you grow up to have eye issues, or you get so old that your eyes deteriorate into one big issue. So why are our eyes an engineering nightmare? Well to answer that, we need to look into the eyes of a squid.
Tomi Engdahl says:
https://hackaday.com/2021/09/28/printed-adapter-puts-vintage-lens-back-to-work/
Tomi Engdahl says:
Cherie Hu / Water & Music:
Study: in 2020, 0.4% of UK artists earned enough from streams to make a living, up 4x since 2015; 65%-75% of those streams came from back catalogs
Just how difficult is it to make a sustainable living from streaming?
https://www.waterandmusic.com/just-how-difficult-is-it-to-make-a-sustainable-living-from-streaming/
What does it really mean to “make it” as an artist?
This is probably one of the most cliché yet evergreen questions in the music industry, as artists continue to navigate ever-shifting contracts, algorithms, power structures and business models on their path to longevity. It’s also a highly subjective question, as no two artists’ career goals or fan bases look the same.
I’ll pose the argument that “making it” as an artist is more about sustainability than about scale — not about reaching any arbitrary popularity benchmark, but rather just about being able to sustain yourself financially off of doing the creative work that you love. With this framing, we can start to move from subjective to more objective measures — benchmarking artists’ earnings against the costs and standards of living across various markets and taking into consideration the unique challenges that emerging artists face, especially when it comes to the often unpredictable, inconsistent nature of royalty payments and freelance work. This exercise becomes especially relevant against the backdrop of grassroots artists and national governments alike launch in-depth critiques of Spotify and other dominant streaming services, demanding that these platforms pay artists more fairly for the value that their catalogs drive.
So, let’s reframe and refocus the question: What does it really look like for an artist to sustain themselves off of streaming, the largest source of music consumption revenue today?
Let’s paraphrase: According to the UK IPO, it’s estimated that only around 0.4% of artists on streaming services (1,723 artists) generate enough streams in the UK (1 million streams/month) to make a sustainable living out of music. With some back-of-the-napkin math, this activity amounts to around $3,000–$5,000 a month in streaming royalties from the UK.
As with any research report, these data points come with a bunch of asterisks attached to them. Importantly, we’re not sure how many streams these top artists generate outside of the UK, since the researchers were only able to work with local consumption data.
The first one is that the vast majority of streams for the top 0.4% of artists — 65% to 75% of streams to be more precise — are coming from back catalog, not from new music.
Secondly, the vast majority of these artists in the top 0.4% are likely signed to major labels.
So, when the UK IPO says that there are 1,700-odd artists whose catalogs generate a million streams a month in the UK, keep in mind:
Most of these streams are for older releases, so arguably skew away from emerging artists;
These artists likely have major-label resources that enable them to achieve this streaming threshold, and
The major-label artist majority in this segment also won’t get access to the lion’s share of revenue generated by those streams, due to the nature of major-label recording contracts.
Using this data, the following sentences might technically be true:
Over the past five years, the number of artists who are able to make a sustainable living off of music has increased 5x (351 vs. 1,723).
Over the past five years, the share of artists able to make a sustainable living off of their music has increased 4x (0.1% vs. 0.4%).
Tomi Engdahl says:
EU testasi HDMI-kaapelit: lähes kaikki reputtivat testissä
https://etn.fi/index.php/13-news/12638-eu-testasi-hdmi-kaapelit-laehes-kaikki-reputtivat-testissae
HDMI on erinomainen standardi, joka on vallannut video- ja audiosignaalin siirron olohuoneissa ja työpöydillä. EU:n sähköturvallisuusviranomaisten tekevä testi kuitenkin osoittaa, että HDMI-kaapelien laadussa on paljon toivomisen varaa.
Testistä vastasivat neljän maan sähköturvallisuusviranomaiset: Elsäkerhetsverket Ruotsissa, Bundesnetzagentur Saksassa, BAKOM Sveitsissä ja Agentshap Telecom Hollannissa. Testissä oli mukana kaikkiaan 30 kaapelia eri valmistajilta ja peräti 27 näistä reputti eli ei täyttänyt vaatimuksia.
Testissä kävi ilmi, että yhdeksän kymmenestä HDMI-kaapelista ei täytä EMC-vaatimuksia.
Testissä käytiin läpi myös antennikaapelien EMC-ominaisuuksia ja vuoden 2012 testiin perusteella antennikaapelin laatu on heikentynyt.
Viranomaisten mukaan kaapelin hinnasta ei voi suoraan päätellä sen laatua. Joissakin tapauksissa kalleimmat kaapelit vuosivat eniten.
Tomi Engdahl says:
https://interferencetechnology.com/hdmi-cables-emi/
Tomi Engdahl says:
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The EU tested HDMI cables: almost all reputations in the test
https://etn.fi/index.php/13-news/12638-eu-testasi-hdmi-kaapelit-laehes-kaikki-reputtivat-testissae
HDMI is an excellent standard that has taken over the transmission of video and audio signals in living rooms and desks. However, a test by EU electrical safety authorities shows that there is much to be desired for the quality of HDMI cables.
The test was carried out by the electrical safety authorities of four countries: Elsäkerhetsverket in Sweden, the Bundesnetzagentur in Germany, BAKOM in Switzerland and Agentshap Telecom in the Netherlands. A total of 30 cables from different manufacturers were included in the test, and as many as 27 of these were backpacks, ie did not meet the requirements.
The test showed that nine out of ten HDMI cables do not meet EMC requirements.
The EMC properties of the antenna cables were also examined in the test, and based on the 2012 test, the quality of the antenna cable has deteriorated.
According to the authorities, the price of the cable does not directly indicate its quality. In some cases, the most expensive cables leaked the most.
Tomi Engdahl says:
EMC compliance for HDMI Radiated Emissions testing (EMI)
https://www.emcbayswater.com.au/blog/emc-testing/commercial-emc-testing/emc-compliance-hdmi-radiated-emissions-testing-emi/
Tomi Engdahl says:
https://www.tripplite.com/products/hdmi-cable-types
Tomi Engdahl says:
http://www.technical-direct.com/en/allion-competitive-analysis-test-report-hdmi-cables-quality-performance/
Tomi Engdahl says:
Common problems that may be signs or symptoms of a bad HDMI cable include: “Shooting stars” or sparkling in the picture. Fuzzy or blurry picture. No picture or intermittent picture.
https://www.cables.com/cablesblog/signs-and-symptoms-of-a-bad-hdmi-cable.html
Tomi Engdahl says:
Time for Next-Gen Codecs to Dethrone JPEG
https://cloudinary.com/blog/time_for_next_gen_codecs_to_dethrone_jpeg
Six combatants have entered the playing field so far:
JPEG 2000 by the JPEG group, the oldest of the JPEG successors, available in Safari
WebP by Google, available in all browsers
HEIC by the MPEG group, based on HEVC and available in iOS
AVIF by the Alliance for Open Media (AOM), available in Chrome and Firefox
JPEG XL by the JPEG group, the next-generation codec
WebP2 by Google, an experimental successor to WebP
Tomi Engdahl says:
Fun
https://starecat.com/hama-high-floating-hdmi-to-water-cable/
Tomi Engdahl says:
EU testasi HDMI-kaapelit: lähes kaikki reputtivat testissä
https://etn.fi/index.php/13-news/12638-eu-testasi-hdmi-kaapelit-laehes-kaikki-reputtivat-testissae
Tomi Engdahl says:
https://www.diyaudio.com/forums/parts/285128-measuring-capacitance-rca-cables.html
Tomi Engdahl says:
Here’s the reason fake numbers and IP addresses are used on TV.
Thousands of people will actually try them to see if they work.
Netflix Responds After Person Receives 4,000 Phone Calls Per Day On Squid Game Number
https://www.ladbible.com/entertainment/tv-and-film-netflix-responds-after-woman-receives-4000-phone-calls-per-day-20210927
Tomi Engdahl says:
Loudspeaker efficiency versus sensitivity
Loudspeaker efficiency and loudspeaker sensitivity level are not the same.
http://www.sengpielaudio.com/calculator-efficiency.htm
Kelly Hubbard says:
Great blog listings, thanks for sharing the high page rank do follow blog commenting sites. Its very nice blogs and instantly approvals to all listings.
Tomi Engdahl says:
The Best High-End Components of the Last Decade according to What Hi-Fi?
https://www.subwoofermania.com/2021/10/the-best-high-end-components-of-last.html?m=1
Tomi Engdahl says:
World’s first lens capable of stereoscopic 3D VR180 shooting to a single-image sensor !!
NEW Canon RF5.2mm F2.8 L Dual Fisheye lens
#cineamtography #canon #3D
Tomi Engdahl says:
DSD Audio on Mac or PC
https://www.youtube.com/watch?v=d04NSIfvhpo
DSD Audio is not something most computers are designed to play nice with. Here’s what you can do to fix that.
Viewer comments:
Yes, thumbs up for Audirvana – it handles everything you pass through it and ‘talks’ directly to your DAC. Of course your DAC has to be able to handle DSD too!
Audirvāna sounds different streaming Qobuz, then playing Qobuz from its native app. I don’t know which one is more true since they both claim but perfect playback. But I like the sound of the Qobuz native player more.
Yes they both sound different.
I do DSD ISOs and DSD files (dsf and dff) using JRiver via PC. No conversion at all, native to my R2R DAC. In fact, I have set JRiver to convert on the fly all my files to DSD64. My PC is a mini itx fanless unit, both psu and cpu.
Opensource alternatives: Foobar2000 for Windows. Deadbeef for Linux
Adding a galvanic isolator between your Mac and the DAC is always a good idea. You only need one that will do USB 2.0 speeds because there are not any audio DACs that require faster USB. They now make a USB 3.0 galvanic isolator for upwards of $400 US, but I just got one that was about a hundred and does USB 2.0.
Tomi Engdahl says:
Every Melody Has Been Copyrighted (and they’re all on this hard drive)
https://www.youtube.com/watch?v=sfXn_ecH5Rw
sat down to talk with Damien Riehl and Noah Rubin about their project to copyright every possible melody, and why that’s a good thing.
Tomi Engdahl says:
You need a NAS RIGHT NOW!! (How I run my Hybrid-Cloud YouTube business)
https://www.youtube.com/watch?v=ZMsHCCyBqEQ
Tomi Engdahl says:
Fixing Led Zeppelin with Autotune
https://www.youtube.com/watch?v=yxX2u8iggYI
0:00 Intro
0:28 Led Zeppelin – Whole Lotta Love
2:52 Frank Sinatra – Fly Me To The Moon
6:05 Mama Neely interlude
7:49 Aretha Franklin – Respect
9:44 Pink Floyd – Wish You Were Here
11:56 Bill Withers – Ain’t No Sunshine
“Perfection is not very expressive” …great thought to think on.
Adam: Wow, what a huge difference!
Me: Hmm yes, I too notice difference. Much difference, indeed. Everywhere. Yes
“To sing a wrong note is insignificant, but to sing without passion is unforgivable.”
-Beethoven
I think being “off pitch” can sometimes sound better or more natural to us probably because it’s closer to just intonation than equal temperament. Maybe?
Using Autotune on Robert Plant is akin to Sauron creating Orcs from Elves.
Tomi Engdahl says:
Universal Studios Sound Department Tour – SoundWorks Collection (2010)
https://www.youtube.com/watch?v=hyXPI7kpJko
Take an exclusive tour of the Sound department at Universal Studios located in Universal City, California hosted by Chris Jenkins, Senior Vice President of Sound Services at NBCUniversal.
Tomi Engdahl says:
https://hackaday.com/2016/08/03/electrostatic-loudspeakers-high-end-hifi-you-can-build-yourself/
Tomi Engdahl says:
http://jazzman-esl-page.blogspot.com/
Tomi Engdahl says:
https://drmrehorst.blogspot.com/2018/10/diy-electrostatic-loudspeakers.html
Tomi Engdahl says:
Hacker builds electronic orchestra that plays Holst’s The Planets with supreme accuracy
https://www.classicfm.com/composers/holst/electronic-orchestra-plays-the-planets-supreme-accuracy/
Tomi Engdahl says:
Why The Ancient Greeks Couldn’t See Blue
https://www.youtube.com/watch?v=D1-WuBbVe2E
This BLUE my mind, I just had to share.
Viewer comments:
“Blue is the final color to enter the language in every single culture.” That’s it guys, we got blue, time to wrap up the whole color naming project.
Ancient Japanese didn’t have a word for green. It was just a shade of blue. They still call the stoplights red and blue, even though it’s green!
I believe Japanese had blue before green. Even today they call a green apple: ao ringo, blue apple. Same with green vegetables.
There wasn’t a color chart in ancient times where people could just pick a color to describe what they saw. The reason why translations of ancient books do have colors and includes the color blue is because writers would convey ideas of color by drawing on the subject under consideration, or by comparing unfamiliar objects with well-known things and those “ideas” are easily translated into what we know as color today. For example: A writer could have written Her eyes were as bright as the ocean. Could be translated to She had bright blue eyes. Just an example. They may not have had names for colors but they had ways to describe it.
“What we call reality is, in fact, nothing more than a culturally sanctioned and linguistically reinforced hallucination.” – Terrence Mckenna
When i read the odyssey and lliad i assumed that “wine dark sea” meant deep water rather than coastal shallows or harbours.
Seeing as there’s so much nautical stuff and poseidons nonsense it made sense for it to be so specific.
Just talk with a painter, or similar professionals and You’ll learn there are legions of colors You don’t know. Or as Terry Pratchett put it: Inuits don’t have dozens of words for snow . . . they have in fact no word for snow, because every kind of snow is for them completely different.
Love this! In my theory of language class, we talked a lot about the theory of whether or not complex thought exists outside of language since our brains are so influenced by language. Amazing stuff!
Tomi Engdahl says:
How to See Ghosts (using Infrasound)
https://www.youtube.com/watch?v=tMSXdCWbRHw
This video is about infrasound, and making music with infrasound. No actual ghosts were detected, but it was fun trying to see them anyway. Oh well.
Tomi Engdahl says:
This Audio Editing Tool “Deep Faked” My Voice (Actually Useful or SCARY?)
https://www.youtube.com/watch?v=-7x3CbbR-ns
I’ve been using a new tool, Descript, for editing audio and video, and it’s definitely made my life a lot easier. It’s actually a game-changer. However, within the tool, there’s a feature called Overdub that allows the program to read text in your voice, without you having to record it.
Tomi Engdahl says:
Janko Roettgers / Protocol:
Magic Leap raises another $500M and says its second-gen AR headset will arrive in 2022 with a slimmer form factor and twice the field of view — Augmented reality startup Magic Leap has raised a new $500 million round of funding at a $2 billion valuation, CEO Peggy Johnson told CNBC on Monday.
Magic Leap has raised another $500 million, readies new headset
The device will be available in 2022.
https://www.protocol.com/magic-leap-new-device-fundraise
Tomi Engdahl says:
Studio vs home speaker positioning
https://www.youtube.com/watch?v=V3dmjVm0-As
Recording studios typically build into the wall or mount the monitor speakers atop the mixing console, where audiophiles place them in their living room. Which is correct and why are they different?
Video comments:
“A lot of studios could care less”. Why do so many Americans get this phrase completely wrong? The correct words are “could NOT care less”. A lack of basic English comprehension and really sloppy use of words.
Generally speaking, a recording studio creates music artificially by tracking parts and then mixing them rather than recording a live performance. Close miking and using DI for instruments allows better control of the overall sound from a performance viewpoint and also removing the characteristics of the room. It also allows for greater creativity as the process goes way beyond that of a live recording. Very few studios have great rooms for recording live performances and live recordings aren’t what our ears have experienced over decades of popular music and we’ve become accustomed to tight layered recordings that couldn’t necessarily be played live anyway. Classical music and some acoustic music are the exceptions and require specific recording locations that bring the best out of the recording. Horses for courses – one isn’t superior to the other and Octave Records will ultimately be limited in what kind of music they record if they stick to live recording.
But you can achieve soundstage front and back even with the speaker set into the wall. Ideally you want to false baffle on the edges and a a drop in the middle.
If you extend the outer baffles 20-25 degrees angle from the speaker baffle and the internal baffle being a 45 degrees slope inwards try setting them up like that, just use 5mm hardboard raised off the floor
At first, because of the different sound requirements for studio, home, or car and mobile, nearly every studio works with more than one speaker setup. Wall integrated speakers were only the first solution to minimize known physical problems of speakers, like diffraction at edges and room modes at farfield. And this setup is only part of a whole, sophisticated mixing room design. These speakers mostly use large basses and mid-treble horns for popper dynamic response before dynamic treatment in the mix, because of weak poweramps that time. The second were small monitors at/near the desk at nearfield to eliminate the room to detect technical issues properly. At that time the nearfields and Headphones were not good enough to mix, because problems with dynamic, resolution etc. Today, wall-integrated setups are NOT common anymore, the setup of the Octave Records Studio is common today. The research of acoustics, and the development of drivers and electronic made it possible to use cones and domes without the additional problems of horns, and more than that. The nice ATC’s are presumptively analog-active driven with analog crossover and analog class AB amps. So they are for sure phase compensated with optimal group delay, appropriate resolution and dynamic. The issues of edge diffraction at the speaker and room modes can be handled with acoustic treatements as visible in this video. Only in very large studios with very large consoles (70+ channels) the effort of wall integrated speakers is adequate, mainly beause of postion (high, sometimes under the ceiling) and speaker distance because of listening field (up to 5 meters wide). Otherwise it depends on historic room situation or is a matter of taste. All setups for mixing and mastering I’ve ever seen (even in YT or TV) in the last four decades are using this “HiFi” setup with speakers today, also for multichannel and not only for stereo.
Tomi Engdahl says:
A new way to build image chips that draw a lot less power.
Event-Based Camera Chips Are Here, What’s Next? Prophesee’s CEO explains the future of sensors that only see changes
https://spectrum.ieee.org/event-based-camera-chips
This month, Sony starts shipping its first high-resolution event-based camera chips. Ordinary cameras capture complete scenes at regular intervals even though most of the pixels in those frames don’t change from one scene to another. The pixels in event-based cameras—a technology inspired by animal vision systems—only react if they detect a change in the amount of light falling on them. Therefore, they consume little power and generate much less data while capturing motion especially well. The two Sony chips—the 0.92 megapixel IMX636 and the smaller 0.33 megapixel IMX637—combine Prophesee’s event-based circuits with Sony’s 3D-chip stacking technology to produce a chip with the smallest event-based pixels on the market. Prophesee CEO Luca Verre explains what comes next for this neuromorphic technology.