dupli line

What is sound mastering and why is it important for professional media duplication?

Modern sound recording industry as we know it today is a result of almost a century of continuous development and technical progress. We very often perceive it to be something that was around forever, and the high-quality FM broadcasts and live concert sound became something that is heard every day. Bot not many do actually think about the volume of work that stands behind that sound quality level.

The professional sound recording is a complex and multi-stage process that employs tens, and sometimes even hundreds of qualified professionals. One of the most important stages of this process is called mastering. You probably heard this term before. But what is sound mastering and why is it so important?

Broadly put, it’s both the final stage in the creative production of a track or album and the initial stage of its manufacture (where a physical product is concerned, such as a CD or vinyl) or output (ie, WAV/MP3 delivery to a download portal). In the early days of mass-produced music, it was the job of a skilled individual to physically transfer a final mix from tape to the ‘master’ vinyl record, which would then be sent for duplication.

As record labels realised that skilfully-applied processing could make a big difference in the perceived quality of music, mastering engineers were given more creative freedom to enhance mixes with equalisation and compression techniques. In today’s digital age, the mastering engineer is still essentially the middle-man between the finished mix and the consumer, correcting any ‘errors’ in the mix, making enhancements where needed, and editing/ submitting the final ‘master’ file for release – all without compromising the artistic vision of the original artist or creatively altering the mix.

So why doesn’t the mix engineer simply take on the task of mastering too? A mastered track should sound as good as possible on as many playback systems as possible, achieving a professional and consistent sound whether listened to on a car stereo, club sound system, cheap earphones, television, mobile phone, and so on. A producer or mix engineer has likely spent countless hours creatively blending multiple elements together to craft the final mix, and in doing so has ‘overlistened’ to the track in the same studio, which may not be the ideal listening environment. The mastering engineer is a final, experienced pair of ears that can objectively listen to the track, correct errors introduced by an imperfect mixing studio, and transparently sweeten a piece of music further.

Fans and listeners are used to hearing modern music coated with a professionally-mastered ‘sheen’ – sparkling highs, deep bass, consistent frequency spread and dynamic balance. Today’s songs and albums must compete with other professional records. A skilled mastering engineer has the equipment, experience, and ears to help a mix sit beside other commercial releases, adding that final 5-10% of polish.

Collections of individual tracks – whether destined for an EP, album or compilation – can each sound tonally and dynamically separate from each other. The mastering engineer will ensure the final collection of songs all sit together as a single cohesive product.

So basically, it is all about consistency and final polishing of the soundtrack. Sort of an additional quality assurance measure on the final stage of a master copy production, that is further on duplicated on a mass-production scale.

Quality of sound will also depend on the quality of the media storage it is recorded to. Therefore, choosing the right means of duplication is probably even more important than mastering itself.

Falcon Technologies International develops and produces professional optical media oriented towards different market sectors for more than 10 years now, and one of the sectors we prioritize, is media duplication.

Our FalconMEDIA DUPLI Line is a product that was tailored to meet the needs of professional media duplicators. It performs to good quality level with benchmark and quality control tests proving that DUPLI Line products have one of the lowest variability rates throughout the industry, which makes them a perfect solution for media duplication.

High-resolution audio: everything you need to know

High-resolution audio (HRA) has emerged as arguably the ultimate sonic selection for digital music fans, but what’s it all about, what do you need and how can you get it?

In the last couple of years, high-resolution audio (HRA) has hit the mainstream sound recording and distribution, due to the release of more devices and services that support the new format.

From dedicated devices like Neil Young’s PonoPlayer and the latest Sony Walkmans, to games consoles like the Play Station 4, smartphones like the Sony Xperia Z5 it seems everyone’s is joining this movement towards taking of the sound recording industry to the next level of quality.

So how does high-res differ from standard digital music formats? Downloads from sites such as Amazon and iTunes, and streaming services such as Spotify, use compressed file formats with relatively low bitrates, such as 256kbps AAC files on iTunes and 320kbps MP3 streams on Spotify.

The use of AAC or MP3 compression leads to partial data loss in the encoding process, which means resolution is sacrificed for the sake of convenience and smaller file sizes. With regards to sound quality, then, these formats aren’t telling the full story of our favourite songs. This might be fine on the bus when you’re listening to your smartphone, but serious music fans should want better. This is where high-resolution audio – or HRA, the term coined by the Consumer Electronics Association – steps in.

Astell & Kern, LG, Samsung, Sony and Pioneer are just some of the companies to have launched hi-res audio compatible products, while several download sites now offer. HRA also has the support of major labels and musicians.

It’s worth pointing out that the definition of high-resolution audio isn’t set in stone. Unlike high-definition video, which has to meet certain criteria to earn the name, there’s no universal standard for hi-res audio.

But the term tends to refer to audio that has a higher sampling frequency. High-resolution audio files usually use a sampling frequency of 96kHz or 192kHz at 24-bit, but you can also have 88.2kHz and 176.4kHz files too.

Sampling frequency refers to the number of times samples are taken per second when the analogue sound waves are converted into digital. The more bits there are, the more accurately the signal can be measured in the first place, so 16-bit to 24-bit can reveal a noticeable leap in quality.

There are several high-resolution audio file formats to choose from, all of which support the above sampling rates and bit-depths. They include FLAC (Free Lossless Audio Codec) and ALAC (Apple Lossless Audio Codec), both of which are compressed but in a way where (in theory) no information is lost.

Other formats include WAV, AIFF and DSD, the format used for Super Audio CDs. The relative merits of the formats can be argued, but most crucial will be compatibility with your particular products and system.

The Recording Industry Association of America (RIAA) has issued a logo that will show up on every track and album that can be classed as hi-res audio.

Obviously the main claimed benefit of high-resolution audio files is superior sound quality over compressed audio formats. To illustrate why they should sound better than MP3s, for example, let’s compare the relative bitrates. The highest quality MP3 has a bitrate of 320kbps, whereas a 24-bit/192kHz file is transferred at a rate of 9216kbps.

24-bit/96k or 24-bit/192kHz files should therefore more closely replicate the sound quality that the musicians and engineers were working with in the studio.

With more information to play with, high-resolution audio tends to boast greater detail and texture, bringing listeners closer to the original performance.

Manufacturers including Bowers & Wilkins, Naim and Linn have been pushing for and producing high-resolution audio products for some time. We’ve now seen mass-market heavyweights such as LG, Samsung and Sony adopt the format to bring it to a larger audience.

With this wider availability, more people are able to learn and understand exactly what high-resolution audio is, and the benefits it can bring to music. There’s plenty of content out there, and there’s plenty of hardware to go with it. The future for the format looks – and sounds – very bright indeed.

At Falcon Technologies International we firmly believe in the core brand values that our brand is build on, and one of them is Quality. High resolution audio format development is very important step for overall music industry, that is currently taking the entire market to the next level.

As a company that have been continuously making efforts to improve the quality of our products, we understand the importance and praise development of such initiatives as high resolution audio standardization and introduction to the mass market.

Falcon Technologies International has specially designed product line to provide quality media storage for professional duplication and replication – DUPLI Line.

It performs to good quality level with benchmark and quality control tests proving that Dupli Line products have one of the lowest variability rates throughout the industry, which makes them a perfect solution for media duplication. Also, DUPLI Line comes with a no failure guarantee, so that media distributors can be sure that the end consumer will be able to enjoy the high quality media from a high quality storage medium.

Source: WhatHiFi

Cartridges Mean Nintendo Switch Games Will Always Cost More

If you’re old enough to remember the original PlayStation launching, then you’ll know how big of a deal switching to optical media was. Rather than shipping an expensive cartridge full of chips, games were burnt on to less expensive compact discs. It didn’t take long for other home consoles to follow and discs have been the preferred media for home consoles ever since.

With the launch of the new Switch console, Nintendo is reverting back to cartridge media for a home console. Nintendo handhelds have stuck with cartridges ever since the Game Boy launched, but there wasn’t really any alternative. For a home console, though, it poses a big problem in the form of pricing.

Inevitably, cross platform games will be released targeting the Xbox One, PS4, and Switch. You only have to look at listings for several popular cross-platform games to see the challenge Switch developers (and Nintendo) face. If the price for some titles is $29.99 for PS4, on Switch it’s $39.99 (33% higher).

The reason is the manufacturing cost. Optical media products are relatively cheap to mass produce, and regardless of whether you burn 5GB or 40GB to a disc the media costs the same. Cartridges, however, are relatively-speaking much more expensive and Switch cartridges can escalate in price depending on whether you need 1GB, 2GB, 4GB, 8GB, 16GB or 32GB of storage. They also get more expensive per cartridge the smaller the batch ordered.

If you only own a Switch, then the price difference doesn’t really matter as you are stuck paying $39.99. However, many gamers will own, or plan to own, a PS4 and a Switch, much like many have owned a home console and a 3DS. In that case, Nintendo will lose out on cross-platform game sales to the PS4 or Xbox One due to the price differential. The PS4 / Xbox One are significantly more powerful than Switch meaning the same game will inevitably look better and run faster while also being cheaper.

The pricing issue is compounded by the fact Nintendo insists that digital versions of a game offered through the eShop must be priced the same as physical versions. So opting to invest in a large SD card and only downloading games won’t save you any cash.

With time and the continued success of the Switch, economies of scale should see manufacturing costs fall. But for the foreseeable future, Switch games are going to be more expensive than the same game on another platform. In fact, manufacturing costs will mean they are always more expensive to produce than the optical disc equivalent.

Will this impact a publisher’s decision to release games on Switch. Potentially, yes. But Switch sales will be key. If Nintendo continues to sell millions of units then the market exists to make releasing on the platform viable. And the more Switch sells, the bigger the cartridge orders can be, and therefore the cheaper they become.

FTI’s Falcon Media Dupli Line is designed to meet the professional media duplicators needs and a suitable product for the gaming industry. Benchmark and quality control tests prove that Dupli Line products have one of the lowest variability rates throughout the industry, which makes them a perfect solution for media duplication.

SOURCE: PCMag

Media Duplication: How to Determine Your Needs

Thousands of business organisations and enterprises both from the public and private sectors use CDs and DVDs as the primary means to distribute important content, and with good reason: CDs and DVDs are inexpensive to produce and user-friendly for even the least tech-savvy viewers and listeners — whether they’re at home, in the car or at the office.

The most common uses for media duplication include: music, movies, software, video games, reports, sales presentations.

In the past, CD or DVD duplication and printing was a long, tedious process. Each disc required special attention to burn, print and apply sticky labels, one at a time. Now, this process can be automated – CD and DVD publishers take the stress out of the duplication process, allowing you to start the job and continue going about your daily business while the machine does the work for you.

Professional disc duplicators may fully automate the process

So, now that you know the basics and your company is ready to automate its media duplication process, here are a few things to consider while narrowing down your options.

The first thing you must know is the quantity of discs you will need to produce at one time. There are duplicators that are great for larger quantities, where multiple discs are duplicated simultaneously. Some fully automated CD and DVD publishing devices hold 20 to 100 discs at a time. These tools not only duplicate the content, but also print onto the discs. Because disc publishers come in various models and capacities, it is vital to understand your quantity needs in order to determine what type of machine will best fit your requirements.

Another important factor that should be taken into consideration is speed. It is essential to identify the timeframes of the duplication project. The target quantity of duplicated discs will definitely influence the deadlines of the particular project, but there are always ways to achieve fast duplication within limited timeframes – it all depends on duplication tools production capacities.

Disc printable surface - its quality is essential and should be taken into account. — Disc printable surface – its quality is essential and should be taken into account.

The next thing that should be taken into account is disc itself, especially its printable surface. This is something that’s something really important when it comes to professional media duplication: at the end of the day, printable surfaces are the ones that ultimately sell the end product. Optical media devices such as blank CDs and DVDs may have excellent technical benchmark testing results, but if the printable surface is of poor quality, they become literally useless pieces of pressed polycarbonate that are completely unsuitable for professional media duplication industry.

Dr. Sean Farnan, Head of FTI’s Research and Development Department commented: ‘The challenges of today’s B2B digitised data industry, demands speeds, reliability and data longevity. Duplication and Replication equipment is costly. It has to run with high yield and minimum supervision to give the best return of investment to the business, while delivering the best value for money, for the business customer. The role and the choice of optical media is crucial in delivering these business objectives. Using a cheap, sub-standard optical media product is clearly a false economy and the decision to use such products to increase margin can seriously undermine the reputation of a data processing business. The optical media MUST deliver quality to the end-user.”

FalconMEDIA Dupli Line - perfect solution for any media duplication needs — FalconMEDIA Dupli Line – perfect solution for any media duplication needs

FalconMEDIA Dupli Line has been specially designed to suit professional media duplication needs. It was tested by ALL the major drive makers to ensure full compatibility across the range of duplication and replication systems.This product line has three essential features that makes it a perfect choice for your media duplication projects:

Excellent benchmark test results and 100% reliable media (proven by number of in-house and independent tests
Low cost, yet high quality grade
Wide range of premium printable surfaces

For over a decade, Falcon Technologies International LLC prioritised its Research and Development efforts on printable surfaces and managed to implement high-tech solutions into its production process. FTI’s wide range of printable layers are designed to meet any professional media duplication industry requirements according to highest standards.