Gotowe bibliografie tematyczne / Sound recording industry

Gotowa bibliografia na temat „Sound recording industry”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "Sound recording industry"

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Gronow, Pekka. "Recording the History of Recording: A Retrospective of the Field". International Journal for History, Culture and Modernity 7, nr 1 (2.11.2019): 443–57. http://dx.doi.org/10.18352/hcm.565.

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The recording industry is now over 120 years old. During the first half of its existence, however, few archives documented or collected its products. Many early recordings have been lost, and discography, the documentation of historical recordings, has mainly been in the hands of private collectors. An emphasis on genre-based discographies such as jazz or opera has often left other areas of record production in the shade. Recent years have seen a growth of national sound collections with online catalogues and at least partial online access to content. While academic historians have been slow to approach the field, there has been outstanding new research on the history of the recording industry, particularly in the USA and UK. This has encouraged the development of new academic research on musical performance, based on historical sound recordings. The article discusses some recent works in this field.
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Meyer, Stephen C. "Parsifal's Aura". 19th-Century Music 33, nr 2 (2009): 151–72. http://dx.doi.org/10.1525/ncm.2009.33.2.151.

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Abstract ““Aura””——configured as an interplay of preservation and loss or——to quote the first version of Walter Benjamin's famous artwork essay——as an ““interweaving of space and time””——is central not only to sound recording, but also to the musical dramaturgy of Wagner's final work. This article examines ways in which this unusual alignment affected early (pre-1948) recordings of Parsifal. The potential contradictions implicit in the concept of aura are nowhere more strikingly revealed than in these early recordings. On one hand, they foreground the problems of reducing complex and lengthy works to easily recorded excerpts or arrangements. In this quasi-Adornian reading, early sound recordings of Parsifal manifest the inexorable power of the culture industry to undermine the authentic work of art. And yet sound recording can also be seen as the fruit of a different impulse, the impulse toward a fully transcendent work of art, the realization of the ““invisible theater”” for which Wagner himself supposedly yearned. Indeed, Parsifal (even more than Wagner's other works) was recorded primarily as a symphonic work, divested of what Adorno so tellingly called the ““phony hoopla”” of operatic production. Early sound recording of Parsifal thus amplifies the conflict between materialism and transcendence that forms the ideological substratum of the plot. This conflict manifests itself in the ““resistance”” that Parsifal offers up to the process of recording, a resistance that is ironically most audible precisely during the age in which the recordings themselves are most ““imperfect.”” It is in these traces of resistance, I will argue, that we may imagine the aura of Wagner's final work.
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Ovsiannikov, Viacheslav. "Principles of microphone sound recording in the context of the creative direction of sound recording". Collection of scientific works “Notes on Art Criticism”, nr 39 (1.09.2021): 124–29. http://dx.doi.org/10.32461/2226-2180.39.2021.238705.

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The purpose of the article is to characterize the principles of sound recording with microphones in the context of the acoustic spatial features of concert halls, which are an important component in positioning the activities and creative directions of "purism", "individualism" and "realism" in sound engineering. The methodology consists of the use of analytical, historical, and cultural methods, which made it possible to identify and characterize the technological foundations of sound recording using the example of sound engineers. The scientific novelty of the work lies in the fact that for the first time in Ukrainian science the principles of microphone sound recording in the context of acoustic spatial features and creative directions of sound engineering "purism", "individualism" and "realism" were defined and characterized. Conclusions. In the work, the data on the spectral response of the frequency range, the stereophonic effect, musical and timbre balance, and the spatial impression of the acoustics of concert halls were determined. The principles of application of multi-microphone technique in instrumental, orchestral, and rock music are revealed; outlined the creative potential of the directions "purism", "individualism" and "realism". in sound engineering. In terms of current cinematic trends and contemporary popular music culture, we hear and become accustomed to exaggeratedly colorful and rich, often "electronic" sound. Since the listener is the ultimate link in the entire recording industry, it is necessary to recognize landmarks in sound engineering aimed at the tastes of the majority.
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Szabó, Ferenc János. "Ernő Dohnányi: A Discography of the Performer". Studia Musicologica 63, nr 1-2 (9.12.2022): 17–85. http://dx.doi.org/10.1556/6.2022.00003.

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AbstractThe performances of Ernő Dohnányi as pianist and conductor were preserved on numerous sound recordings. He was involved in the recording industry first in 1905, and his death was notoriously caused by a cold suffered in a recording studio in 1960. His interpretation is preserved on different audio media: piano rolls, 78rpm and Long Play discs, x-ray foils and reel-to-reel tapes. Although the number of his studio recordings, made for commercial purposes, is relatively small, the amount of live concert and home recordings, including the huge collection of unpublished recordings made in the USA between 1945 and 1960, expands it to a significant corpus of sound recordings. This article contains the complete discography of Ernő Dohnányi as a performer. The discography provides all available data of the studio and live recordings of Dohnányi, including the data of reissues (closing date: June 2022). It is preceded by an article in which Dohnányi's discography is analysed from several aspects. The analysis of the recorded repertoire sets the stage for further research on Dohnányi's interpretation; however, lost recordings are also reviewed. Dohnányi's controversial relationship to the technical media, and vice versa the recording firms changing interest in him as a performer, are also discussed in detail, involving several sources formerly unknown to Dohnányi research.
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Wood, Nicholas Stuart. "Protecting Creativity: Why Moral Rights Should be Extended to Sound Recordings under New Zealand Copyright Law". Victoria University of Wellington Law Review 32, nr 1 (5.03.2001): 163. http://dx.doi.org/10.26686/vuwlr.v32i1.5899.

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Traditionally, moral rights have not extended to the creators of sound recordings under either common law or civil law systems. The somewhat outdated rationale of this exclusion of sound recordings from the ambit of moral rights protection was generally that sound recordings were merely mechanical reproductions of already existing musical works, and hence the recordings lacked sufficient creativity to make them worthy of moral rights protection. In 1996, the WIPO Performances and Phonograms Treaty sought to remedy this anomaly in copyright law by extending the moral rights of paternity and of integrity to performers whose performances are fixed in sound recordings.This paper argues that New Zealand should follow WIPO's lead and extend the moral rights provisions of the Copyright Act 1994 to sound recordings. The author argues that sound recordings are imbued with sufficient creativity to merit moral rights protection and that this protection should be granted not only to performers but to sound engineers and producers, who also contribute creatively to the recording. This paper examines how moral rights in relation to sound recordings might work in practice and what remedies should be available for breach of these rights. The author concludes that the extension of moral rights to sound recordings need not impact detrimentally on the music industry, as some commentators fear.
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Poletti, Mark. "Three-dimensional sound recording using directional beams". Journal of the Acoustical Society of America 154, nr 4_supplement (1.10.2023): A255. http://dx.doi.org/10.1121/10.0023453.

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The recording of three-dimensional spatial audio is typically carried out using microphone arrays that produce higher-order B-format responses, which are defined by spherical harmonics. Spherical harmonics provide a compact, orthonormal representation of the sound field, but can be intuitively challenging for general users because they do not have a direction, as opposed to typical microphones used in the audio industry. Furthermore, spherical microphone arrays typically use microphone angles based on Platonic solids which do not have intuitive directions such as front, rear, left, right, up, and down. This paper considers the use of sets of directional beams that have orthonormal properties in a similar manner to spherical harmonics. Sets of angles that have intuitive directions are used, and a method of approximating orthonormal beams is developed. The approach can also be applied to angles obtained from Platonic solids. Finally, a prototype microphone array that implements the directional recording format is described.
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Van Nort, Doug. "Multidimensional Scratching, Sound Shaping and Triple Point". Leonardo Music Journal 20 (grudzień 2010): 17–18. http://dx.doi.org/10.1162/lmj_a_00005.

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The author discusses performance utilizing his greis software system, which is built around the principle of a “scrubbing” interaction with roots in the recording industry and the paradigm of scrubbing tape across a magnetic head.
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Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless". PHILHARMONICA. International Music Journal, nr 1 (styczeń 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.

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Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation. In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.   
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Dauterive, Jessica, Matthew B. Karush i Michael O’Malley. "Hearing the Americas: Understanding the Early Recording Industry with Digital Tools". Journal of the Gilded Age and Progressive Era 22, nr 4 (październik 2023): 427–51. http://dx.doi.org/10.1017/s1537781423000178.

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AbstractThis article describes the methods and arguments of Hearing the Americas, a digital public history project that illuminates the history of popular music and the recording industry from 1890 to 1925. We argue that the use of digital tools allows the website to integrate sound directly into writing on music and thereby explicate a series of historical arguments. The article examines three arguments advanced by Hearing the Americas, showing in each case how digital tools generate new insights. The first case uses mapping to reveal some of the specific ways in which the economic and social context of Jim Crow shaped the experiences of Black performers; the second integrates sound and text to reveal the origins of certain blues conventions in the racist stereotypes of minstrel shows; and the final case uses digital tools to argue that the marketing strategies of the recording industry throughout the Americas helped produce a key shift in patterns of globalization.
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Jhingan, Shikha. "Backpacking Sounds". Feminist Media Histories 1, nr 4 (2015): 71–88. http://dx.doi.org/10.1525/fmh.2015.1.4.71.

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The Bombay film music industry has been dominated by male music composers for the past eight decades. In this essay, the author explores the work of Sneha Khanwalkar, a young female music director who has brought forward new sound practices on popular television in India and in Bombay cinema. Instead of working in Bombay studios, Khanwalkar prefers to step out into the “field,” carving out dense acoustic territories using portable recording technologies. Her field studio becomes an unlimited space as readers see her backpacking, collecting sounds and musical phrases, and, finally, working with the material she has collected. Khanwalkar's collaborative approach to musical sound has challenged genre boundaries between film music and folk music on the one hand and the oral and the recorded on the other. Her radical intervention in sound and music brings together unexplored spatialities, voices, bodies, and machines by foregrounding the process of citation, recording, and digital reworking. Through an exploration of Khanwalkar's work, involving travel, mobility, and a prosthetic extension of the body through the microphone, the author brings into discussion emerging practices that have expanded the aural boundaries of the Bombay film song.
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Rozprawy doktorskie na temat "Sound recording industry"

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Papizzo, Brian O'Shea (Brian Thomas O'Shea). "Towards a political economy of the Canadian recording industry". Ottawa, 1993.

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Genevro, Brad. "The art of recording the American wind band". connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).
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Goh, Man-fat Joseph. "Music retailing in Hong Kong /". [Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13731105.

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Lubin, Tom. "An historical survey of technology used in the production & presentation of music in the 20th century /". View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.112151/index.html.

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Choi, Ka-fai. "Some economics of the classical music record industry". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31938073.

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Stephens, Alexa Renee-Marie. "Atlanta's Digital Music Industry: Implications for Workforce and Economic Development". Thesis, Available online, Georgia Institute of Technology, 2007, 2007. http://etd.gatech.edu/theses/available/etd-07092007-093611/.

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Choi, Ka-fai, i 蔡家輝. "Some economics of the classical music record industry". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31938073.

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Howlett, Michael John Gilmour. "The record producer as nexus : creative inspiration, technology and the recording industry". Thesis, University of South Wales, 2009. https://pure.southwales.ac.uk/en/studentthesis/the-record-producer-as-nexus(b829aaf3-8ca1-4e8c-ab6e-f4f731644a47).html.

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What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali-like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least likely place for creative expression and for an affective performance to happen. The task of the record producer is to engage with these artists and their songs and turn these potentials into form through the technology of the recording studio. The purpose of the exercise is to disseminate this fixed form to an imagined audience—generally in the hope that this audience will prove to be real. Finding an audience is the role of the record company. A record producer must also engage with the commercial expectations of the interests that underwrite a recording. This dissertation considers three fields of interest in the recording process: the performer and the song; the technology of the recording context; and the commercial ambitions of the record company—and positions the record producer as a nexus at the interface of all three. The author reports his structured recollection of five recordings, with three different artists, that all achieved substantial commercial success. The processes are considered from the author‘s perspective as the record producer, and from inception of the project to completion of the recorded work. What were the processes of engagement? Do the actions reported conform to the template of nexus? This dissertation proposes that in all recordings the function of producer/nexus is present and necessary—it exists in the interaction of the artistry and the technology. The art of record production is to engage with these artists and the songs they bring and turn these potentials into form.
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Genevro, Bradley James. "The Art of Recording the American Wind Band". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5276/.

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Wind bands have been recording for over one hundred years. Through advancements in both technology and process, recordings have made a monumental impact on the wind band and its repertoire. These advancements have created clarity regarding the performance practice of pieces and helped to preserve the wind band repertoire. Many early works have gained masterwork status due, in large part, to the fact that recordings have preserved them. The increase in popularity of recording and, in particular, the wind band, warrants an investigation into the various aspects of the process. Additionally, gaining insight from wind band professionals who record will help to evaluate the contributions that recording has made to the education of performers and listeners, the preservation of repertoire and the artistic enhancement of the wind band. Each chapter explores aspects of the recording process and how those aspects have shaped the wind band, its repertoire and performance practice. Information from conductors, composers and engineers provide valuable insight pertaining to the educational, historical and artistic components of the recording process. The goal of all involved in the recording process should be the pursuit of technical perfection, which does not eclipse the ultimate musical goals of the project and the integrity of the composer's intentions.
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Steyn, Martha Magdalena. "A supply chain model for the South African recording industry". Thesis, Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-09272005-100520.

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Książki na temat "Sound recording industry"

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Rauf, Don. Recording industry. New York: Ferguson, 2010.

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Rauf, Don. Recording industry. New York: Ferguson, 2010.

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Wright, Christine. Music master: British record industry prefix list. Hastings: John Humphries, 1985.

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Brunet, Alain. Le disque ne tourne pas rond. Montréal: Coronet liv, 2003.

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Hull, Geoffrey P. The recording industry. Boston: Allyn and Bacon, 1998.

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Hull, Geoffrey P. The recording industry. Wyd. 2. New York, NY: Routledge, 2004.

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John, Borwick, i Association of Professional Recording Services., red. Sound recording practice. Wyd. 4. Oxford: Oxford University Press, 1994.

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John, Borwick, i Association of Professional Recording Studios., red. Sound recording practice. Wyd. 3. Oxford: Oxford University Press, 1987.

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Canada, Industry Science and Technology Canada. Sound recordings. Ottawa, Ont: Industry, Science and Technology Canada, 1991.

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Thérien, Robert. L' histoire de l'enregistrement sonore au Québec et dans le monde, 1878-1950. [Sainte-Foy, Québec]: Presses du l'Université Laval, 2003.

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Części książek na temat "Sound recording industry"

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Leška, Rudolf. "Sync That Tune! The Role of Collective Management of Rights in Film Production and Distribution". W Springer Series in Media Industries, 273–90. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44850-9_16.

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Abstract Whenever a film is produced and distributed, a license to use the music and sound recording may be needed. While the film producer usually owns the copyright in the film and underlying works or actors’ performances, responsibility for the clearance of rights in music and sound recordings remains largely on the shoulders of users (broadcasters, cinema operators, VOD platforms). They usually need to get a license through a CMO or directly from the rightsholder. In the case of musical works, the procedures are largely standardized, mainly in offline use. When it comes to licensing the rights for cross-border use online or when phonogram producers and performers are involved, the licensing situation becomes messy which introduces significant uncertainty into the market. Instead of advocating state regulation, the author pleads for the development of cross-border industry standards and procedures, good practices and reciprocal agreements between CMOs to be developed in a collaboration of global organizations representing rightsholders.
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Revill, Adrian. "Classical music". W Sound Recording Practice, 346–59. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163817.003.0016.

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Abstract The techniques involved in recording classical music are different from those used to record other types of music, and this is largely because the philosophy behind the production of the recordings is different. The record industry uses the term ‘classical music’ to encompass many types of music, not just the strictly classical works of Mozart or Haydn but also Romantic works by composers like Tchaikovsky and Wagner, twentieth-century music, and a growing catalogue of early music. The styles and the sound of this repertoire are very diverse but the philosophy common to the recording production is to capture a perfect performance and give the listener the impression of hearing it from a perfect seat in the concert hall. The producer and engineer keep this ideal in mind even when hundreds of takes need splicing together from sessions recorded in a venue with non-ideal acoustics. The purist approach is to use a single microphone (or stereo pair) and record the music in long continuous takes with no editing; indeed for some people this is the only valid approach. However, it must be said that the majority of classical recordings are not made in this way. Many different microphone techniques are used and, to understand how these have evolved, it is necessary to consider the parameters which contribute to the sound of a classical recording.
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Fisher, Dave. "Radio broadcasting". W Sound Recording Practice, 493–509. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163817.003.0025.

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Abstract In a short space it is very difficult to do justice to so wide a subject as broadcasting, which embraces many engineering and operational disciplines. Therefore I shall try to describe the main differences between broad casting and the rest of the sound recording industry. The following differences are generally true throughout broadcasting: Broadcasting can be live. This means that studios, equipment, and operational procedures need to be designed for the possibility of live transmission, even though many programmes are recorded. The absolute technical quality of a programme may take second place to its production ‘feel’, particularly if it is live. For instance, audience noise (including applause) at a live concert may add more than it detracts from a live transmission.
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Atkin, Malcolm. "Maintenance". W Sound Recording Practice, 316–28. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163817.003.0014.

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Abstract As the audio industry has matured, there has been a great increase in the number of small manufacturing companies producing an ever-wider range of equipment for studio use. This in turn has meant a changing role for the maintenance engineer. He may no longer be asked to build an in-house mixing console, but he will be expected to have wide experience ranging from antique musical instruments to the merits of the latest software updates. He will also be the person whom everyone calls upon when things go wrong. A professional studio should have a fully qualified technical engineer available at any time that a session is in progress. Whilst breakdown cover can be provided by mobile service engineers, this should not be a substitute. A true recording studio is always being modified and re-equipped as tastes and methods change, and a full-time engineer who has intimate knowledge of the installation and operation of all the equipment in the studio is a tremendous asset to the company.
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Mornington-West, Allen. "Basic electronics and acoustics". W Sound Recording Practice, 13–36. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163817.003.0002.

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Abstract This chapter attempts to summarize some of the electrical and acoustical terms commonly found in the audio industry. There is not the space to cover any one item in depth, though there should be no great inaccuracy as a consequence. The basic units and symbols which make up the SI system of units (Systeme International d’Unités) are given in Appendix 1. The names of the units have often been derived from the names of past scientists and are in internationally agreed use. The wide range of values which these units may have requires an efficient scheme of notation. For example, the range of sound pressure levels (SPL) to which the human ear is sensitive extends to more than one million to one-from the threshold of hearing to the threshold of pain. Although the SPL at the threshold of hearing could be written as 0.000020 Pa, it is more usually written as 20 µ Pa. The µ stands for ‘micro’ and is a shorthand way of expressing the ratio of a millionth. The range of common multipliers is also given in Appendix 1. It can be seen that they rise in a ratio of a thousand to one.
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"Copyright in Sound Recordings and Songs". W The Music Business and Recording Industry, 57–80. Routledge, 2004. http://dx.doi.org/10.4324/9780203957745-8.

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"Copyright in Sound Recordings and Songs". W The Music Business and Recording Industry, 53–76. Routledge, 2004. http://dx.doi.org/10.4324/9780203498330-9.

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Brackett, David. "Foreign Music and the Emergence of Phonography". W Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0002.

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Chapter two begins around 1900 with a discussion of the United States music industry in the early days of sound recording, which is examined for its impact on the categorization of popular music, and the new possibilities afforded for the circulation of genre-identity relations. The category of “foreign music” emerges in response first to an interest in music of faraway places facilitated by sound recording, and then to the discovery of marketing possibilities to recent European immigrants. The subcategories of Hawaiian and Jewish music are analyzed in more detail to show how foreign music moved from an emphasis on imaginary to homologous music-identity relations by the 1920s. The category of foreign music established a model for how the music industry could be structured around the concept of homological relations (that is, a direct one-to-one correspondence) between categories of music and categories of people.
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Walther-Hansen, Mads. "Discourses of Recorded Sound". W Making Sense of Recordings, 27–47. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197533901.003.0002.

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The chapter looks at descriptions of sound across texts and across historical contexts. Starting from the invention of the phonograph through multitrack recording to digital audio, the chapter accounts for change and stability in the way sound quality is processed in relation to discourses of sound. It shows how listeners, the industry, and other communities build specific listening preferences through the discourse of sound quality. The chapter also addresses the contributions of the phonograph, vinyl disc, cassette tape, CD, and MP3 formats to the discourse of sound, and it enumerates two cognitive metaphors, the ONE REALITY type and the MULTIPLE REALITIES type.
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Moreda Rodríguez, Eva. "Inventing the recording". W Inventing the Recording, 64–86. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552063.003.0004.

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This chapter introduces the gabinetes fonográficos that appeared after the introduction of the Spring Motor Phonograph, Edison Home Phonograph, and Edison Standard Phonograph between 1896 and 1898; these were small recording labels which recorded their own wax cylinders employing local musicians and sold them directly to their customers, operating often precariously or for a limited amount of time. The chapter then discusses the gabinetes that were active between 1896 and 1905 in Madrid, then the main center of the nascent Spanish recording industry. The chapter examines how the Madrid gabinetes built upon ways of listening developed earlier in the decade to transform recorded sound into a commodity, and how, in doing so, they drew upon regeneracionista discourses concerning science, technology, modernity, and national identity.
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Streszczenia konferencji na temat "Sound recording industry"

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Mitsuhashi, Yoshinobu. "Standardization Activities for Optical Disks in Japan". W Optical Data Storage. Washington, D.C.: Optica Publishing Group, 1985. http://dx.doi.org/10.1364/ods.1985.thcc1.

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In the optoelecrronic industry, optical disks are considered one of the most promising technologies following optical communication. In recent years, technical development of the optical disk has been startling, with the marketing of the video disk (VD) and the digital audio disk (CD) followed by the document file and the code data disks, all of which illustrate its increasing variety. The international standards for VD and CD have been almost completed by the IEC / TC 60 (International Electrotechnical Commission, Technical Committee 60A: Sound Recording, 60B : Video Recording).1) International standardization of Optical Digital Data Disks (OD3) is being achieved by the activities in the ISO / TC 97 / SC 23 (International Organization for Standardization, Technical Committee 97 : Information Processing Systems, Sub-Committee 23: OD3).2)
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Ye, Zhen, Wei Xue, Xu Tan, Qifeng Liu i Yike Guo. "NAS-FM: Neural Architecture Search for Tunable and Interpretable Sound Synthesis Based on Frequency Modulation". W Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/651.

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Developing digital sound synthesizers is crucial to the music industry as it provides a low-cost way to produce high-quality sounds with rich timbres. Existing traditional synthesizers often require substantial expertise to determine the overall framework of a synthesizer and the parameters of submodules. Since expert knowledge is hard to acquire, it hinders the flexibility to quickly design and tune digital synthesizers for diverse sounds. In this paper, we propose ``NAS-FM'', which adopts neural architecture search (NAS) to build a differentiable frequency modulation (FM) synthesizer. Tunable synthesizers with interpretable controls can be developed automatically from sounds without any prior expert knowledge and manual operating costs. In detail, we train a supernet with a specifically designed search space, including predicting the envelopes of carriers and modulators with different frequency ratios. An evolutionary search algorithm with adaptive oscillator size is then developed to find the optimal relationship between oscillators and the frequency ratio of FM. Extensive experiments on recordings of different instrument sounds show that our algorithm can build a synthesizer fully automatically, achieving better results than handcrafted synthesizers. Audio samples are available at https://nas-fm.github.io/
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Almasri, Abdulrakeeb, Jounathan Joubran i Adnan Alsadah. "New Downhole Wet-Mate Design Resulted in Capex Reduction". W ADIPEC. SPE, 2023. http://dx.doi.org/10.2118/216398-ms.

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Abstract Intelligent completions in multizone wells require hydraulic control lines connected to the surface to maintain functionality. To reduce capital expenditure (Capex) of failed equipment, such as an electrical submersible pump (ESP), the industry required a reliable method to remove the upper completion without the complexity and uncertainty of unsetting one or more packers and pulling out the entire completion. This paper will discuss the essential aspects of a new hydraulic wet-mate design, its qualification, and installation methods over numerous ESP wells combined with an intelligent completion that resulted in zero nonproductive time (NPT), with full control of the lower intelligent completion. Additionally, the future of this technology will be discussed, such as the addition of a direct-connect electrical wet mate that requires no orientation to the hydraulic wet-mate design for a complete two-trip intelligent completion. The downhole wet-mate connector success is directly related to the design simplicity. The tool is concentric and requires no specific orientation for a successful wet mate. It also has the ability to run in highly deviated wells with a wide range of casing sizes without modifications from 7 into 9 5/8 in. Another crucial design feature is the soft-release mechanism that allows for the removal of the upper portion of the wet mate (male) from the lower portion (receptacle), without excessive overpull, such as overcoming a shear ring or snap latch. This ability allows the wet mate to be separated without excessive overpull that could damage the tool permanently. The qualification process included multiple iterations of pressure and temperature testing around the performance envelope, debris testing, and for the electrical portion, a test with high-salinity brine while recording the downhole pressure and temperature gauges. De-completing an intelligent completion well can be complex, particularly when multiple packers require release. ESPs typically have a life span of approximately 5 years. The downhole wet-mate tool enables ESP replacement without disturbing the intelligent completion, which provides a significant advantage, especially in a multizone well equipped with multiple hydraulic-controlled interval control valves (ICVs). Cost savings: Overall risk reduced by removing the need to retrieve the entire intelligent completion from the well and the re-spooling of additional control lines and related clamps and accessoriesStab in and stab out without rotation Efficiency improvements: Soft-release device reduces the risk of system damage This paper will discuss the aspects of a reliable wet-mate completion tool and highlight the concurrent successful installations that prove the design and deployment methods are sound.
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