atmospheric recording music master system

7/27/2019 Atmospheric Recording Music Master System

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The Atmospheric Recording system is also used in multi-dimensional continuousnumerical digital signal creation of the different product www.singingwind.us , and not limited tomicrophone recording. The continuous numerical digital signal can be edited, and mixed frommodified digital audio workstations without any loss of integrity from the use of digital filters,analog filters, compressors, or coloring. Effects can be added or subtracted from copies of the

master recording.

A special 64 bit or 128 bit digital format at millions of samples per second can be generatedfrom the same Atmospheric Recording system continuous numerical digital master specifically for low cost, high quality, consumer electronic playback hardware. Switching digital to analogtransistors, driven directly by the new format signals, are located at each and every one of the manyspeakers, without crossover networks. The normal signal to pre-amplifier, to amplifier, tocrossover network, to speaker is now simply signal to speaker. This will increase the number of speakers available, dramatically improve the music quality, and reduce cost by thousands of dollarsin hardware not required for every home.

The Atmospheric Recording system has nothing to do with human hearing, concentratingon atmospheric recording. People who have spent their lives recording music say analog master recording has been superior to any digital master recording, because the missing field of intimatedetails leaves the listener wanting. In the reality of real life signal creation, it is very difficult to be

bounded by the tight digital limitations, requiring compressors, and other distortion to remaininside the voltage limit rails of digital recording. The analog curve-off distortion is superior to thedigital cut-off or clipping from hitting the rails. It is also possible to over compensate and not getclose enough to the rails, resulting in a serious loss of signal detail at low amplitudes. The digitalmaster recording window of rail to rail is extreme, too tight, and very unforgiving compared toanalog master recording.

The argument that no one can hear the details of 24 bit 192,000 samples per second, so whywould anyone want more detail is a false comparison, because the Atmospheric Recording systemhas nothing to do with human hearing. The Atmospheric Recording system continuous numericalrecording format is designed for computer manipulation, and analysis of the subtle detail necessaryfor accurate mathematics. Many new technologies for low cost consumer electronic products withsuperior sound are possible with the Atmospheric Recording system, that are not possible withconventional 24 bit 192,000 samplers per second.

From the perspective of consumer electronics, and music customer, the AtmosphericRecording system will appear as low cost, high performance audio content, and audio hardware,especially with the more than 22.2 plus audio channels replacing the 5.1 surround sound proposedmore than five years ago for 8K televison in home theaters. The Atmospheric Recording system isdesigned to deliver high performance technology with low cost, over existing moderate internet bitrates, with complete security over the open internet for artist, and distributors. AtmosphericRecording system also supports any, and all analog, or digital recording formats in existence with100 percent accuracy.

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The Atmospheric Recording system will characterize each, and every musician with their instruments separately before a master recording. It is not necessary to physically separate musicalinstruments or musicians with separate microphones or sound insulation. It will not be necessary tocreate separate microphone channels for each and every musical instrument, or musician after characterization. The quantity of microphone channels can be significantly reduced, and the

microphone physical position is not as critical with the Atmospheric Recording system. Moreediting and mixing information is available from fewer microphone channels with the extremedetails contained inside the Atmospheric Recording system continuous numerical master recording, than are available with hundreds, or thousands of separate tracks of 24 bit 192,000samples per second.

The extreme accuracy, frequency, dynamic range, and separation of amplitude from thesignal, creates the ability to work with known individual characteristic signatures of individualinstruments and musicians, including the human voice can be isolated. The volume of any singlemusical instrument can be changed without any form of compression affecting anything else on therecording. Anything can be isolated, changing entire instruments, voices, environment effects, on

each and every channel individually, without editing or mixing hundreds to thousands of differenttracks. This will be the equivalent of physically moving the microphone around during a liverecording.

The single channel continuous numerical detail allows the Atmospheric Recording systemto create master recordings from existing recordings without IIR, FIR, or common filter transforms.This creates the retro-generation possibility where old recordings can be regenerated with theoriginal musician on new musical instruments, retro-generated human voices, and newenvironmental stages.

The Atmospheric Recording system not only records extended frequency range, it also hasextended dynamic range with extreme bit depth that allows transient events that occur inuncontrolled environments found in reality. This creates a very forgiving format for live

performances. A live movie location with horrible wind noise can be recorded live with theAtmospheric Recording system, and when the recording studio finishes editing and mixing, thevoices are dubbed automatically, the background noises are separated automatically, and everysound is replaced with perfect timing and subtle nuance.

As long as the microphone does not physically saturate, the extended dynamic range of theAtmospheric Recording system will support very close physical location positioning of themicrophone for super discrimination of instruments and musicians, while supporting extended

background recording at the same time. This is currently not possible without extended analogcompression creating distortion on any existing master recording format analog, or digital.



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24 bit 192,000 samples per second has a very limited window of dynamic range in the practical reality of music master recording. The position of the microphone is extremely critical,and if it is too close it will saturate, and if it is too far away the background environment absorbs themusic with a complete loss of detail. That is why so many microphones creating tens, to hundreds,to thousands of tracks become necessary to cram them all into a few channels distributed to the

consumer. 24 bit 192,000 samples per second is often compared to the dynamic range of humanhearing. In a perfected, controlled, and crafted environment, 24 bit 192,000 samples per seconddigital does approach the limited range of human hearing, "and yet something is still missing", dry,and not as involving as analog.

The Atmospheric Recording system Master Recording is designed for atmosphericrecording. Human hearing by the ear and brain encompass only a part of the sound inside theatmosphere. Many subsonic, and supersonic sounds that the human eventually perceives as sound,may have very little to do with hearing. Ignoring frequencies below or above the human ear rangehas proven to be a mistake in master recordings.

The Atmospheric Recording system continuous numerical digital master recording issuperior to any and all existing recording formats analog, or digital. The Atmospheric Recordingsystem can generate with 100 percent accurate sample rates any, and all existing analog master recording formats, and digital recording bit depth and sample rates, from Compact Disc 16 bit44,100 samples per second, 24 bit 96,000 samples per second, to the standard 24 bit 192,000samples per second currently used for master recordings. Also all digital serial formats includingSACD, and DSD, including anything above and beyond yet to be created for consumer electronics.

For over ten years the digital sample rate of 24bit, 192,000 samples per second has beenused for Master Recordings. It is the result of a complex set of limitations including signal to noiseratio, economics of materials, mathematics, physics, semiconductors, digital storage, and politics.

With the Atmospheric Recording system it is no longer required to compromise quality, andintegrity when creating a digital master recording with, or without the controlled environment of arecording studio. Many new capabilities are possible when the subtle details are stored for usage.Missing minute detail will create noise and, or distortion especially when mixed with other tracksof missing minute detail.

Differential analysis in real-time can convert an uncontrolled environment with random background noise generation, into a controlled studio recording. Since all channels are digitizedand stored, the process can be hyper discriminative with retro-generation in the studio mix. Thiswill require the subtle details missing with digital sampling of 24 bits at 192,000 samples per second master recordings.



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Compact Disc Verses Cassette Tapes

The music stored on cassette tapes can never create the full detail, and dynamic range possible with the Compact Disc format of 16 bit 44,100 samples per second.

The Compact Disc format of 16 bit 44,100 samples per second can never create the fulldetail, and dynamic range possible with 24 bit 192,000 samples per second.

The 24 bit 192,000 samples per second can never create the full detail, and dynamic range possible with the Atmospheric Recording system continuous numeric master recording format.

The Atmospheric Recording system continuous numeric master recording format can with100 percent accuracy create any existing analog, or digital recording format.

Many unique abilities are possible when the full analog detail is recorded with theAtmospheric Recording system, that no existing master recording format is capable of. New

playback consumer electronic products are made possible, with lower cost including higher qualityover average existing internet bandwidth.

For many decades the psychophysics of human perception has told us what we can, and cannot perceive, and what our brain can, and can not process. MP3 is a Lossy Compression formatwhere detail, and frequencies are actually removed from the music. The London SymphonyOrchestra has formally stopped releasing recordings on the MP3 format because of the missingdetails.

It is true that most home audio systems can not handle extreme frequencies or extreme detailat this time, however it is the purpose of Atmospheric Recording system to create new low cost high

performance consumer electronics that are not possible at this time with existing recording formats,and will not be possible with the current course, speed, and direction of the music industry. TheAtmospheric Recording system continuous numeric master recording is the first step towardchanging the continued miniaturization of centuries old philosophies, and centuries old physical

perceptions. When the crystal glass on the kitchen table explodes with the new technology, anddoes not with current technology, something is different.



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FLOPFloating Point Operations Per second

Digital Audio Workstations (DAW) have started to incorporate options for 32 bit, and 64 bit

recording formats. This typically applies to application of computer floating point formats, and willnot increase 24 bit, 192,000 samples per second into 32 bits or 64 bits. Many people seem to think that floating point is a superior mathematical concept because of the floating point operations per second, megaflops, gigaflops, and teraflops ratings of supercomputers. The floating point is a lossycompression system required fifty years ago because of limited physical resources, and should have

been abandoned decades ago.

Long ago and far, far away, there was a good reason to have floating point. The agreed uponstandard is the IEEE 754. It allows computer architectures with limited resources to work with verylarge numbers that are beyond the computer architecture bit capacity . The nature of a floating

point is to achieve a lossy bit compression system by storing only the most significant bits possible,

and actually discarding the least significant bits. The trade off for working with numbers beyondthe computer architecture bit capacity, is the dropping of potentially vital details, deemed to beinsignificant by themselves. Ironically the enormous quantity and speed of calculations achieve avery significant accumulated error, demonstrated in many serious long term practical applicationfailures over the decades of usage. This has the very serious consequence of destroying the integrityof many long term numerical modeling simulations.

The once good reason for having floating point has been miniaturized along with all theother once good reasons for archaic computer architectures, into thousands of once huge datacenters onto a single module. Much, much more of the same old thing, over, and over again with theexcuse of using legacy software with less expensive hardware.

The Atmospheric Recording system is designed to work with the COURSAYRE Processor Element computer architecture at www.coursayre.com . The COURSAYRE Processor Element

does not require Floating Point Operations, and typically operates beyond the range of IEEE 754double precision numerical capacity of the Titan Supercomputer.


The Atmospheric Recording system is a master recording format, with much moreinformation being recorded than the traditional microphone signal by itself. This is especiallynecessary when the Atmospheric Recording system is working with computer generated musicalinstruments, and no microphones are involved. This extra data is required when working with truethree dimensional music recording, and even more important, for the many different playback formats.


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Microphones

Existing microphones do not cover the frequency range of 0 to 100,000 plus cycles per second, however the Atmospheric Recording system analog to digital converter has the ability tocombine many different atmospheric sensors, including existing audio microphones into one singlechannel. This includes laser, shotgun, parabolic, fiber optic, piezoelectric, pressure sensors, andother specialized microphone combinations for unique location considerations. Most singlechannel microphone combinations will be typically five, to hundreds of different frequency rangeatmospheric sensors combined into one singe microphone channel.

Because of the extreme dynamic range of the Atmospheric Recording system, very low costMicroelectromechanical Systems (MEMS) microphones can be placed in a normally saturated

position, creating very detailed position signals normally distorted, or absorbed in the atmosphere before ever reaching any microphone. Many small microphones may create new details that do nottake away from the traditional microphone response, and are made available for editing and mixing.

The Atmospheric Recording system analog to digital converter is located as close as practical to the microphones to reduce the electrical cable length, with a small metal boxrepresenting each separate channel. Special small modules allow impedance matching for eachdifferent microphone. Each and every small metal box has its own 10 gigabit per second copper cable up to 100 meters or just over 300 feet back to the Coursayre Processor Element computer system. A low cost fiber optic cable transmitting up to 300 meters or just under 1,000 feet back tothe Coursayre Processor Element computer system is also possible. Greater lengths are possible.

Any and all dynamic recording parameters can be changed in real time from the CoursayreProcessor Element to the small metal boxes containing the different microphone channels of thedigital audio workstation, and or the separate Atmospheric Recording system control panel.



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Ambisonics

Ambisonics was invented in the early 1970's, and is immediately practical with theAtmospheric Recording system continuous numerical master recording format. Ambisonics wasinvented by Michael Gerzon of the Mathematical Institute, Oxford, with Professor Peter Fellgettof the University of Reading, David Brown, John Wright and John Hayes.

The Atmospheric Recording system is able to implement the Ambisonics based design withno compromise to existing microphone systems, and achieve 2 dimensional planer, and 3dimensional spherical recording with the detail retention, and control not possible with a singlemicrophone at 24 bit 192,000 samples per second.

The Ambisonics soundfield microphones will enhance the ability of AtmosphericRecording system to control the 3 dimensional "Microphone Walkthrough", amplitude, volume

panning of a Atmospheric Recording system continuous numerical master recording of a orchestra,live performance, recording studio, or any environment. This is currently achieved with the digitalaudio workstation by the differential of the individual recorded tracks from each of the four or moremicrophones. The different tracks from each microphone are processed, edited, and mixed, thentypically formatted for playback through speaker systems. This is processing the tracks externally,from the outside to the inside. All existing DAW's digital audio workstations now work from theoutside to the inside of the signal. Attempts to work inside the signal are usually limited toamplitude, or frequency separation, without knowledge of what or where the separated amplitude,or frequency comes from. There is no ability to isolate individual musical instruments, musicians,or human voices.

The Coursayre Processor Element is capable of the real time processing, and the editingwith mixing of recorded microphone channels from the inside to the outside of the individualmicrophone channel signal. The ability to separate individual sound sources on each, and everymicrophone channel is enhanced with the Ambisonic soundfield microphones. The AtmosphericRecording system continuous numerical master recording of the finite details creates this newability. It is now not only possible to move the apparent microphone through an orchestra after ithas been recorded, it is now possible to move the piano by itself across the stage, without isolatedrecording tracks of the piano by itself.

Over the years it has been proven that more detail, and improved playback is possible withmany more microphone channels using the Ambisonic soundfield microphones. The AtmosphericRecording system will handle any number of microphone channels, and with the built in CodexGrandeur inside the Coursayre Processor Element secure processor 100 plus LOSSLESScompression, practical distribution of many channels is possible. The standard Blu-ray 8 LPCMaudio channels can be increased to 800 LPCM audio channels, requiring only the CoursayreProcessor Element secure processor running the Codex Grandeur at the Blu-ray player.

The Atmospheric Recording system is designed to create new formats that reduce thehardware cost of consumer electronics required to support hundreds of separate sound channelsover existing moderate internet lines, and the Blu-ray Disc.



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Master Recording Studio

From the perspective of the master recording studio, the increased cost of AtmosphericRecording system technology is centralized at this position, removing as much cost as possiblefrom the consumer electronics music customer. This creates a look down perspective that is not

possible with 24 bit 192,000 samples per second, where many consumers have similar capabilities.

The Atmospheric Recording system is less expensive than existing 24 bit 192,000 samples per second master recording studio hardware. Because the Atmospheric Recording system isrecording details not possible with 24 bit 192,000 samples per second, the storage required isslightly greater. With the Codex Grandeur, the Lossless Compression storage requirements will beup to 100 plus times less.

The spinning magnetic disk or hard disk drive (HDD) provides the best price performancefor large volume storage at this time. The solid state drive (SDD) is a semiconductor flash memoryversion of the spinning magnetic disk, and is currently more expensive. It is desirable when highfrequency random location access is critical.

The nature of master recording for music requires more sequential access, than randomaccess. New technologies are on the way to further reduce the cost of large scale sequential accessnecessary for the Atmospheric Recording system, probably within the next ten years.

Hardware Required

The Coursayre Processor Element is the computer for the Atmospheric Recording system.The Coursayre is explicitly designed to be a secure processor that supports trade secrets, real time

signal processing, and the Codex Grandeur . It is usually located next to the existing personalcomputer running the digital audio workstation software, that has been modified for theAtmospheric Recording system continuous numerical master recordings.

The Coursayre handles the HDD's that are dynamically arrayed for the RAW, editing, andmixing Atmospheric Recording system continuous numerical master recordings.

Each microphone channel is represented by a small metal box located as close as possible tothe microphone, with accompanying atmospheric transducers for extended frequency range. Thesmall metal box contains a 10 Gbits transceiver with 100 meters of low cost copper cable, 300meters of low cost fiber optic link, or thousands of meters of very expensive fiber optic link back to

the Coursayre .



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The small metal box will support many combinations of hardware, from one singlemicrophone channel, to ten different microphone channels supporting the Atmospheric Recordingsystem continuous numerical master recording format. The hardware can also be included tosupport 1,736 microphone channels of the standard 24 bit 192,000 recording format only, replacingthe ten different microphone channels supporting the Atmospheric Recording system

continuousuos numerical master recording format. This may be desirable with experimentalmicrophone array formats.

The number of small metal boxes containing the microphone channels is unlimited. TheCoursayre will build up in scale to handle any number of microphone channels. The HDD array of the Coursayre will also scale up for any number of microphone channels, and length of recordings.

Currently available 5 terabyte magnetic tape cartridges are available for about $300.00each. The typical internet Cloud solution is many, many times more expensive per year, than thesimple purchase of more HDD's.

The Atmospheric Recording system continuous numerical master recording format isdesigned explicitly for use with the Codex Grandeur. The Codex Grandeur is a LOSSLESS musiccompression system that performs at 100 times plus, versus the almost 2 times LOSSLESS musiccompression of any other system for very detailed music, if it was capable of working with theAtmospheric Recording system continuous numerical master recording at all. This means the 250HDD's can be reduced to less than 3 HDD's reducing the cost from $50,000.00 to well under $500.00 for the complete master storage of any master recording session.

The Codex Grandeur is also a secure coding system that allows multiple copies of 3 HDD back-up units to be stored remotely at different locations offsite for physical security, without the possible theft, or intercept of the master recording. It is now possible to consider the internet Cloudas a possible solution.

The Atmospheric Recording system, and the Codex Grandeur are designed to work with theCOURSAYRE Processor Element computer architecture at www.coursayre.com . TheCOURSAYRE is a secure processor designed explicitly to secure trade secrets. The COURSAYREcommunicates with personal computer platforms running the digital audio workstation editing, andmixing software.



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Magnetic Recording

Two inch multi track magnetic tape has been the analog reference master recordingtechnology for recent decades long after magnetic tape succeeded 78 rpm disc recordings for quality, length, and editing ability by the Germans during World War II. Direct recording to

phonograph disc lathe cutting can provide superior performance, however the practical difficulty of no editing ability made this option impractical for the majority of applications.

Magnetic tape can still perceived to be superior in subtle nuance ability when compared todigital sampling of 24 bits at 192,000 samples per second master recordings, even when the

problems of magnetic tape are also considered. Loss of intimate detail at very quiet passages, andsubtle loss of intimate detail in busy, complex passages with digital master recordings are cited bylifetime musicians, especially in uncontrolled studio live on stage performances.

What has been described as "rust on sticky tape", is a continuous analog recording mediumas are the recording grooves of a phonograph disc. While proven to be economical for massconsumer electronics distribution, the recording master for the final released phonograph disc isusually stored and mixed first with magnetic tape machines. The many physical limitations in therecorded groove of a phonograph disc are still expensive, and difficult to overcome even withcurrent technology.

Magnetic tape has the inherent advantage of millions and millions of magnetic particlesevery inch that directly have influence on the magnetic heads. Each and every particle has its own"magnetic domain" that is rotated between the north and south poles. Each and every particle has itsown complex atomic structure that has many "magnetic domain's" also.

The magnetic field force effect is well observed, equated, and studied. The magnetic fieldforce itself remains a physical phenomena. During manufacture of magnetic tape, a magnetic fieldis often applied to align the particles for mechanical bias. Before recording a very high frequency iswritten to the recording track for better particle domain response. The recording head creates amagnetic "flux" that influences the polarity of any or all domains in the field. The retentivity of the

particular magnetic particle material will determine the percentage of recorded signal, and it willnever be exactly the same twice, or exactly repeatable because of the analog physics. It is goodenough that an acceptable repeatability is possible.

The advantage is that 15 to 30 inches per second mean a continuous stream of magnetic particles is presented to the read and write heads for recording and playback. The width and speedof the magnetic tape determine the audio frequency quality, especially at high frequency. Thecassette tape is a victim of high frequency hiss noise, and missing detail caused by a lack of magnetic tape surface speed, lack of surface area containing magnetic particles available due todimensional physics, and economics. "Dolby Noise Reduction" was one famous attempt toimprove the situation that was so bad it welcomed the Compact Disc digital quality of 16 bits at44,100 samples per second that was a great improvement at the time for consumer electronics.



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Digital recording is 100 percent accurate, and repeatable at the discrete sampling point only,everything between the sampling points is missing. Magnetic recording is not 100 percent accurate,however the millions and millions of magnetic particles per inch provide a continuous flux changewith each particle representing an independent analog sampling where no information iscompletely missing as it is for discrete digital sampling of 24 bit 192,000 samples per second.

James Lee McDaniel

Chief Executive Officer/President

www.atmosphericrecording.com

[email protected]



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atmospheric recording music master system

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