There are two approaches to digital filtering. One is to implement the impulse response directly. The other is to use recursion. Here we look at the direct implementation.
The variable directivity microphone is very popular for studio work. What goes on inside is very clever and not widely appreciated.
Digital filters are ubiquitous. That has happened because they have significant advantages over the technology they widely replaced.
In real systems the issue of sampling rate conversion arises frequently but fortunately there are plenty of solutions.
As company mergers, acquisitions and extensive rights management agreements have become part of the new media landscape, it has created large multi-national conglomerates that span the globe. This in turn has revealed the need for IT networking technology and complex software orchestration that tie all of the disparate locations together and increase productivity across the company.
The advantages of digital audio for recording purposes are clear, but once in the digital domain, productions steps also need to be carried out. Recorders don’t care about the encoding method, which is instead optimized for production purposes.
The best sampling rate for digital audio is easily established by considering the requirements of the human auditory system (HAS), which is the only meaningful arbiter. Provided that the bandwidth of a digital audio system somewhat exceeds the bandwidth of the HAS, that should be enough.
It’s interesting to compare the quality that can be obtained using digital audio with legacy media such as the vinyl disk and magnetic tape.