As far as I know, only projectors can reproduce REC2020. Many of them can do 100% of DCI-P3. Emissive displays are just barely hitting DCI-P3. Only a handful can do 100% of P3.

Makes sense, for many years I only specified 4k or UHD displays for interactive and collaborative applications.

You didn't specifically call out Dolby Surround 7.1, when I read it I had the same reaction as Gregorio that 7.1 has been around for decades. From a mixing perspective for film, I consider all speakers but except the center and LFE to be part of the surround. In non atmos surround formats the...

What the the engineer told you is pretty much the trade off. If you want to more the paper from Bill Whitlock can be downloaded here - www.jensen-transformers.com/application-notes/ you will have to register which should be free and they are worth the effort.

That is a broadcast standard. It does not apply to SPL or loudness in a live venue. It would only apply to the broadcast feed of the live event which is whole different mixing desk and processing chain.

One would hope the artist listened to the album song levels as it was mastered, so the the album flows with listener adjusting the levels, we often lowered individual song levels a few dB to give a consistent levels from one song to the next.

0dBFS is the same on every piece of equipment and software I have used. I can record the same signal with 8 bit, 16, 24 and 32. They will all play back at the exactly the same level the only difference will be the noise floor. Bit depth only pushes your noise floor down. There is only two...

I missed your post before. I think we are saying the same thing from the opposite direction. It really depends on the room you can have large bright room or a dead one. Unlike music studios where the acoustics and monitors are referenced to "flattness" The x-curve is reference made from the...

That page is horrible. The simple fact they have different "headroom" for different bit depths is flawed. Digital has the same headroom no matter the bit depth. It has been said "footroom" would be a better term. In music recording headroom is something you leave yourself for peaks. So is they...

X-curve (See SMPTE ST 202) is applied to the measurement window. It is not really an eq curve. It is based on the average theater size of 500 seats, the x-curve is what was found to be the typical response in testing many 500 seat theaters (it was also developed a long time ago) What it does...

Are they adding distortion to "create bass" of is the distortion a side effect of using the rumble motors to extend the bass making the whole tablet a LF driver. Much like the old servo drive subwoofers, except without a direct connection to the driver surface and a whole lot of real time math.

That is the problem with analog recording there never has been an analog recording system that does not change the sound, you are always losing something. The signal from the microphones has never played back on an analog recording sounding anything like what went in. With experience you learn...

There was bunch of different ones all with artifacts, Dolby A and SR, DBX type 1, Telefunken C4, EMT. SR was the only one that had much acceptance and that was only in film. Then there was all the low performance consumer schemes Dolby B,C and S, DBX type 2 and Telefunken high com.

The scary part it modern touring systems are so clean and have so much headroom in most venues, you don't even notice how loud it is. When it harsh and distorted it easy to notice. I was at and outdoor jazz concert a few years ago near FOH thinking this sounds really good, then a few minutes...

You can't picture much at 130dBSPL your eyeballs start bouncing around at around 126dBSPL. 150 dBSPL is unpleasant on your whole body even though you have all the hearing protection you can get.

d&B Soundscape pretty much automates all that, connected to a performer tracker it positions all the performers in the soundfield even while they move across the stage. If the performer in the middle and you are in the left of the hall there sound to you will be to your right where the...

The one from Studio Six Digital was able to bypass the built-in filters in the microphone to get a more flat response. Of course you can get a low cost calibrated Type 2 microphone from them for $200 that is really handy. They also have measurement preamps and Type 1 microphones if you need that.

This is news to every audio engineer in the world. Ninety-nine percent of levels are relative. Absolute levels are rarely known. Unless you have measured the dB-SPL unweighted and calibrate to it everything is relative. Until record companies start putting a calibration tone in an album, with...

Unfortunately manufacturers still get this wrong as well. I expect analog line level inputs to handle at least +24dBu. From what I have measured years ago 0 dBFS is over 15 volts peak to peak. They look up the output of a consumer CD player which specifies some nonsense like out 2V nominal (...

0dBu is about -18 dB down from 0dBFS depending on your calibration

We did use the same workflow. You brought the stereo masters to the mastering studio. The mastering engineer would give it the final polish to maximize fidelity for each of the release formats. After the CD introduction you would do the 1630 master first as it was the highest fidelity. The 1630...

In the early 80's what other options did they have? U-Matic was a robust broadcast standard at the time. An U-matic tape machine was not exactly cheap, about the price of a luxury car at the time. and the tape A 1 gig hard drive was 550 pounds and cost around $90,000. Chances are if you shipped...

Every setting and calibration in analog recording changes the sound, there is no setting that is transparent. 30 IPS gives better SN at the loss of low frequency response, 15 IPS gives better lows but you lower SN. That is just one the dozens of tradeoffs in analog recording. I can't even tell...

There is not and never has been a lossless analog recording medium. When recording analog you had to spend time deciding your best compromise of trade off's for the recording you made. There is not a single piece of analog tape or vinyl the sounds anything like the the signal from the...