Audio Partnership was specifically formed to look for opportunities in acquiring under-developed brands with the intention of providing the investment to allow stability and growth, both in the UK and overseas. Target companies would be ideally British brands that had already developed exceptional technical and design credibility and popularity, but had been lacking in resources or funding to be consistent market leaders in the UK or other markets.
Naim's Digital Audio offering was bolstered in 2017 with the internally labeled 'New Streaming Platform' that became the award-winning Uniti range of streamers, which comprised the Uniti Core, Uniti Nova, Uniti Star and Uniti Atom. The latter received an EISA award for Best All In One System, 2018–19.
Audio is stored on the disc in Linear PCM format, which is either uncompressed or losslessly compressed with MLP (Meridian Lossless Packing). The maximum permissible total bit rate is 9.6 Megabits per second. Channel/resolution combinations that would exceed this need to be compressed. In uncompressed modes, it is possible to get up to 96/16 or 48/24 in 5.1, and 192/24 in stereo. To store 5.1 tracks in 88.2/20, 88.2/24, 96/20 or 96/24 MLP encoding is mandatory.
Audio latency can be experienced in broadcast systems where someone is contributing to a live broadcast over a satellite or similar link with high delay, where the person in the main studio has to wait for the contributor at the other end of the link to react to questions. Latency in this context could be between several hundred milliseconds and a few seconds. Dealing with audio latencies as high as this takes special training in order to make the resulting combined audio output reasonably acceptable to the listeners. Wherever practical, it is important to try to keep live production audio latency low throughout the production system in order to keep the reactions and interchange of participants as natural as possible. A latency of 10 milliseconds or better is the target for audio circuits within professional production structures.
During much of the 1980s, Naim asserted that Compact Disc was a far inferior medium to the vinyl gramophone record. Early discs often lost something in the transfer compared to vinyl, and Naim continued to design their products in this context. However, by 1990 technological advances allowed the production of the Naim CDS, the first CD player considered worthy of the Naim brand. The announcement in 1989 that the company was working on a CD player shocked the marketplace. The player was unusual for a two-box device in that Naim put the digital–analogue converter in the same box as the transport and audio circuitry, whilst keeping the power supply separate. The Naim CDS has since seen two major revisions (now in its CDS3 incarnation) since its launch in 1991; while subsequent lower-priced extensions to the line are often used by hi-fi reviewers as references at their respective price points. The CD555, which is the "money no object" flagship priced at £15,000, is heralded by Naim as "the ultimate CD player".
An audio generator suitable for use in test and measurement must meet several criteria that apply to both analog and digital stimulus:
Latency can be a particular problem in audio platforms on computers. Supported interface optimizations reduce the delay down to times that are too short for the human ear to detect. By reducing buffer sizes, latency can be reduced. A popular optimization solution is Steinberg's ASIO, which bypasses the audio platform and connects audio signals directly to the sound card's hardware. Many professional and semi-professional audio applications utilize the ASIO driver, allowing users to work with audio in real time. Pro Tools HD offers a low latency system similar to ASIO. Pro Tools 10 and 11 are also compatible with ASIO interface drivers.
From the first day of ownership, work commenced to build an in-house engineering team starting with mechanical engineering and industrial design while exclusive contracts were signed with the most prominent and successful freelance audio electronics engineers of the day, including: Mike Creek of Creek Audio, John Westlake and the engineering team at Pink Triangle (audio manufacturer)
Different bit depth/sampling rate/channel combinations can be used on a single disc. For instance, a DVD-Audio disc may contain a 96 kHz/24-bit 5.1-channel audio track as well as a 192 kHz/24-bit stereo audio track. Also, the channels of a track can be split into two groups stored at different resolutions. For example, the front speakers could be 96/24, while the surrounds are 48/20.
DVD-Audio offers many possible configurations of audio channels, ranging from single-channel mono to 5.1-channel surround sound, at various sampling frequencies and sample rates. (The ".1" denotes a low-frequency effects channel (LFE) for bass and/or special audio effects.)
Cambridge Audio was considered a perfect fit and became the company's first acquisition and remains Audio Partnership's prime focus some 22 years later.
The purchaser of the business in 1994 was the newly-established Audio Partnership, which was formed by two entrepreneurial businessmen, Julian Richer and James Johnson-Flint, who were already enjoying significant success with audio retailer Richer Sounds.
Audio on a DVD-Audio disc can be stored in many different bit depth/sampling rate/channel combinations:
A key element in the purchase of Cambridge Audio by Audio Partnership was the determination that the brand would continue as a true creator, developer and manufacturer of its own dedicated products. From the start of this new era the company was committed to the idea that Cambridge Audio should continue to create ground-breaking, original and proprietary technologies.
If no native stereo audio exists on the disc, the DVD-Audio player may be able to downmix the 5.1-channel audio to two-channel stereo audio if the listener does not have a surround sound setup (provided that the coefficients were set in the stream at authoring). Downmixing can only be done to two-channel stereo, not to other configurations, such as 4.0 quad. DVD-Audio may also feature menus, text subtitles, still images and video, plus in high end authoring systems it is also possible to link directly into a Video_TS directory that might contain video tracks, as well as PCM stereo and other "bonus" features.
On September 20, 2019, ABC Radio was renamed as ABC Audio as the network has evolved to offer a podcast portfolio and other forms of on-demand and linear content. VP/General Manager Stacia Philips Deshishku, who made the announcement acknowledges that "the power of radio remains critical to our business, as does the ABC News Radio brand within ABC Audio."
In audio search from audio, the user must play the audio of a song either with a music player, by singing or by humming to the computer microphone. Subsequently, a sound pattern, A, is derived from the audio waveform, and a frequency representation is derived from its Fourier Transform. This pattern will be matched with a pattern, B, corresponding to the waveform and transform of sound files found in the database. All those audio files in the database whose patterns are similar to the pattern search will be displayed as search results
DAB uses the MPEG-1 Audio Layer II audio codec, which is often referred to as MP2 because of the ubiquitous MP3 (MPEG-1 Audio Layer III).
This problem does not occur when using the 'gauge B' (BPO) phone connector (PO 316) which although it is of 0.25 in (6.3 mm) diameter has a smaller tip and a recessed ring so that the ground contact of the socket never touches the tip or ring of the plug. This type was designed for balanced audio use, being the original telephone 'switchboard' connector and is still common in broadcast, telecommunications and many professional audio applications where it is vital that permanent circuits being monitored (bridged) are not interrupted by the insertion or removal of connectors. This same tapered shape used in the 'gauge B' (BPO) plug can be seen also in aviation and military applications on various diameters of jack connector including the PJ-068 and 'bantam' plugs. The more common straight-sided profile used in domestic and commercial applications and discussed in most of this article is known as 'gauge A'.
One convention that avoided this brief shorting in the professional audio world was to use the following convention for XLR and PJ-051/WE-310 patch bays, so that, "By making the tip of the jack the low side of the line, the high side is physically protected against momentary shorts when patching in and out of the jackfield.":