Audiovox Accessories

Audiovox Accessories are carried at WirelessGround.com. Audiovox Accessories include car chargers, leather cases, ear pieces, head-sets, home chargers, belt clips, travel chargers, batteries, desktop chargers, phone covers, face plates, and many different other Audiovox Accessories that are part of our Audiovox Accessories product line. Our Audiovox Accessories are made with the highest quality material to ensure maximum performance for your cell phone accessories. WirelessGround.com carries original and aftermarket Audiovox Accessories that are 100% compatible with your wireless cell phone. Also, Audiovox Accessories are accompanied with up to a one year warranty. For a limited time, WirelessGround.com has discounted all Audiovox Accessories for your cell phone and has put them on sale.

Audiovox

Audiovox Corporation (NASDAQ: VOXX), established in 1965, Audiovox continues to operate and expand under its chairman and founder John J. Shalam. Audiovox Corporation operates as an international distributor and value-added service provider in the accessory, mobile and consumer electronics industries. The Company conducts its business through seven wholly owned subsidiaries: American Radio Corp., Audiovox Accessories Corp. (AAC), Audiovox Consumer Electronics, Inc., Audiovox Electronics Corporation (AEC), Audiovox German Holdings GmbH (Audiovox Germany), Audiovox Venezuela, C.A. and Code Systems, Inc.

Audioslave

Audioslave were an American hard rock supergroup who formed in Los Angeles, California in 2001. It consisted of ex-Soundgarden frontman, rhythm guitarist, and drummer Chris Cornell and the former instrumentalists of Rage Against the Machine: Tom Morello (guitar), Tim Commerford (bass and backing vocals) and Brad Wilk (drums). Critics initially described Audioslave as an amalgamation of Rage Against the Machine and Soundgarden, but by the band's second album, Out of Exile, it was noted that they had established a separate identity.
The band's trademark sound was created by blending 1970s hard rock with 1990s alternative rock. Moreover, Morello incorporated his well-known, unconventional guitar solos into this mix. As with Rage Against the Machine, the band prided themselves on the fact that all sounds on their albums were produced using only guitar, bass, drums and vocals; no samples were ever used.
After Audioslave released three successful albums, received three Grammy nominations, and became the first American rock band to perform an open-air concert in Cuba, Cornell issued a statement in February 2007 announcing that he was permanently leaving the band "due to irresolvable personality conflicts as well as musical differences". As the other three members were busy with the Rage Against the Machine reunion, and Morello and Cornell had each released solo albums in 2007, Audioslave was officially disbanded.

AudioPCI

The AudioPCI is a PCI-based sound card released in 1997. It was Ensoniq's last sound card product before they were acquired by Creative Technology. The card represented a shift in Ensoniq's market positioning. Whereas the Soundscape line had been made up primarily of low-volume high-end products full of features, the AudioPCI was designed to be very simple, low-cost product to appeal to system OEMs and thus hopefully sell in mass quantities.

Digital audio workstation

A digital audio workstation (DAW) is an electronic system designed to record, edit and play back digital audio. A key feature of DAWs is the ability to freely manipulate recorded sounds. Many DAWs, especially computer-based DAWs, have MIDI recording, editing, and playback capabilities.

The term "DAW" simply refers to a general combination of audio multitrack software and high-quality audio hardware — the latter being a specialized audio converter unit which performs some variety of analog-to-digital (ADC) and/or digital-to-analog (DAC) signal conversion. For example, a workstation could have eight discrete audio inputs, and two or more audio outputs for playback monitoring or routing signal to other devices. Systems can have as few as two mono inputs and outputs; the discrete audio inputs and outputs provide for simultaneous multitracking dual mono sources or stereo recording. A professional DAC performs the same function as a common sound card, but is generally of higher quality and offers sonic or functional advantages when compared with its consumer cousin.

While almost any home computer with multitrack and editing software can function somewhat as a DAW, the term generally refers to computer systems which have high-quality external ADC-DAC hardware, and some form of audio software; some of which is commercial proprietary software. Besides having high-end sound cards most DAWs also require a large amount of RAM, fast CPU(s) and sufficient free hard drive space.

Audio Video Production

As a complete entertainment solution and service provider, Fun and Films & Music Entertainment indulges in the audio-video production of all events including musical nights, theme parties, wedding ceremonies, dealer meets, conferences, seminars, road shows etc. into the form of Tele Film, CD Presentation, indoor video shooting, outdoor video shooting, documentary film, backed by the panel of experts in audio-video film-making.

Audio video conferencing

Audio video conferencing is a shorthand way of describing a virtual conference where no one has to leave her office to meet up with the rest of the group. A virtual conference may use telephones, televisions, computers, conferencing software, collaborative software, file sharing, headsets, the Internet, or any combination of these equipments and tools. Slide presentation, streaming audio, and document sharing are some of the extras you can incorporate into this conferencing method. The ultimate goal is to make the meeting as realistic as possible, where everyone can see each other, hear each other, view and modify projects, and so on – all at a cost that eventually pays for itself in travel savings.
The audio video industry has yet to work out all of the kinks. As you can imagine, there can sometimes be technical difficulties in which lines can get torn down in a storm, computers and other equipment can malfunction, and so on. Furthermore, audio video conferencing doesn’t work very well for complicated communication techniques, such as those used in closing a sales deal. Audio video conferencing lends a rather impersonal air to meetings, and socializing and bonding don’t take place as they would in the real world.
You can set up for audio video conferencing in a number of different ways. The older method, still great for a wide variety of teleconferencing purposes, is to have one group in one room, another group in another room (perhaps in another city or country), and have them talk to each other. Each of the two groups utilizes a television, a video camera mounted on the television, a speakerphone, and perhaps some file sharing software for collaboration on computer projects. The newer style is online audio video conferencing, wherein each participant has her very own station in her very own office. This utilizes a computer, the Internet, a web cam, a headset, and file sharing software. This new method allows for even greater ease of planning and attendance, applicability to collaboration, and mobility. You could attend a web conference on the beach while the other attendees are on a train, at home, in a restaurant, or anywhere else.

Audio Transcription

Audio transcription or speech to text conversion includes conferences, interviews, focus groups, seminars, meetings, lectures, legal depositions, radio broadcasts, TV talk shows etc. transcribed from voice files to text format. These services are useful for media and other public relations companies, publishing companies, law firms and academic institutions that need speech transcribed to text.
Editing, Typesetting, DTP, PDF creation, and more depending on your needs.

The Evolution of Audio Video Conferencing

Audio video conferencing is a shorthand way of describing a virtual conference where no one has to leave her office to meet up with the rest of the group. A virtual conference may use telephones, televisions, computers, conferencing software, collaborative software, file sharing, headsets, the Internet, or any combination of these equipments and tools. Slide presentation, streaming audio, and document sharing are some of the extras you can incorporate into this conferencing method. The ultimate goal is to make the meeting as realistic as possible, where everyone can see each other, hear each other, view and modify projects, and so on – all at a cost that eventually pays for itself in travel savings.

The audio video industry has yet to work out all of the kinks. As you can imagine, there can sometimes be technical difficulties in which lines can get torn down in a storm, computers and other equipment can malfunction, and so on. Furthermore, audio video conferencing doesn’t work very well for complicated communication techniques, such as those used in closing a sales deal. Audio video conferencing lends a rather impersonal air to meetings, and socializing and bonding don’t take place as they would in the real world.

You can set up for audio video conferencing in a number of different ways. The older method, still great for a wide variety of teleconferencing purposes, is to have one group in one room, another group in another room (perhaps in another city or country), and have them talk to each other. Each of the two groups utilizes a television, a video camera mounted on the television, a speakerphone, and perhaps some file sharing software for collaboration on computer projects. The newer style is online audio video conferencing, wherein each participant has her very own station in her very own office. This utilizes a computer, the Internet, a web cam, a headset, and file sharing software. This new method allows for even greater ease of planning and attendance, applicability to collaboration, and mobility. You could attend a web conference on the beach while the other attendees are on a train, at home, in a restaurant, or anywhere else.

Audio teleconference system with wireless communication

This invention is to enable transfer of a right to speak in an audio teleconference in view of usability. In this invention, a PoC server is introduced to achieve new functions, such as transfer of the right to speak, reservation to acquire the right to speak, and deprivation of the right to speak. The PoC server has a teleconference presence manager, a teleconference manager, and a teleconference audio communication manager. The right to speak is managed in a presence data storage of the teleconference presence manager. The teleconference presence manager directly manages the presence data storage, but the teleconference manager manages transfer of the right to speak. In addition, the teleconference manager manages reservation of the right to speak by a storage for a reservation list of the right to speak. The teleconference audio communication manager carries out routing of audio data. At that time, only audio data received from a user holding the right to speak is transferred.

Inventors:
Morishima, Hisayuki (Kawasaki, JP)
Suzuki, Takako (Kawasaki, JP)
Yamamoto, Yuuki (Kawasaki, JP)
Ohno, Takashi (Kawasaki, JP)
Okuyama, Satoshi (Kawasaki, JP)
Horio, Kenichi (Kawasaki, JP)
Kakuta, Jun (Kawasaki, JP)
Gunchi, Toshinao (Shinjuku, JP)
Tabuchi, Yuji (Shinjuku, JP)

Audio Teleconferencing

Although videoconferencing is making headway, audio teleconferencing continues to deliver on the promise of long-distance communications for education and business.

When my mother used to ask my brother questions about baseball, Bob would invariably begin his answer saying, "Mom, nine men are on a baseball team." In a similar vein, this discussion of teleconferencing hybrids must start with a short explanation of the two-wire plain old telephone service.

The standard analog telephone connection between a residential or commercial site and the local switching office is a two-conductor pair. Because both sides of the conversation travel over the two-conductor pair, some means must be provided to separate the transmit and receive signals. One two-wire to four-wire conversion is done on the switching-office side to facilitate sending to and receiving from distant switching offices. The other conversion happens at the customer's handset. The separation of the transmit signal from the receive signal is not accomplished perfectly. In particular, when the customer speaks into his handset, he hears himself in the earpiece. This is known as sidetone and gives a handset the familiar live sound. This is a classic case of "If you can't fix it, feature it."

Signal leakage reduction * The analog approach: Not more than a few years ago, if you wanted to connect a sound system to an analog phone line, you would use an analog hybrid. An analog hybrid uses passive techniques to minimize the amount of the local transmit signal that leaks through to the local receive signal. Because the impedance of the telephone line is complex and can change during a conversation, an analog hybrid can only achieve about 10 dB to 15 dB reduction in the transmit signal leakage to the receive output. This is an obvious problem in a teleconferencing application because this leakage is clearly audible from the local loudspeakers. Aside from being annoying, transmit leakage can cause reduced intelligibility or feedback in the local teleconferencing sound system. * The digital approach: With the advent of modern digital signal processors, a much more effective approach to transmit leakage reduction became feasible. Using a digital adaptive filter, the digital hybrid can realize a much better approximation to the telephone line impedance and can also track changes in the line impedance over time. Fairly typical for a digital hybrid is 30 dB to 40 dB of transmit leakage reduction. As an added bonus, once the signal is in the digital domain, other desirable signal processing can be performed by the digital signal processor.

Echo suppression There is perhaps no better known catch phrase in teleconferencing than full-duplex operation. Full duplex literally means that the transmit and receive paths are always fully open all the time. But because all digital hybrids use some form of echo suppression, none can have truly full-duplex operation. In practical terms, full-duplex means the ability for participants who are physically remote from one another to hold conversations. Whether this goal is fulfilled has to do both with the performance of the digital hybrid and with other aspects of the system implementation.

Echo suppression refers to manipulating the transmit and receive signal path gain to achieve even lower transmit-to-receive leakage. In addition, echo suppression can minimize the effects of low-level echoes caused by line reflections in the phone system.

Equalizer

Dating as far back as the 1930's, the equalizer is the oldest and probably the most extensively used signal processing device available to the recording or sound reinforcement engineer. Today there are many types of equalizers available, and these vary greatly in sophistication, from the simple bass and treble tone control of the fifties to advanced equipment like the modern multi-band graphic equalizer and the more complex parametric types. Basically, an equalizer consists of a number of electronic filters which allow frequency response of a sound system or signal chain to be altered. Over the past half century, equalizers design has grown increasingly sophisticated. Designs began with the basic 'shelving filter', but have since evolved to meet the requirements of today's audio industry.

Understanding EQ and its Effects on Signals
There are two areas of equalization that I want to cover. Those two areas are vocals and music. I'd like to discuss the different effects of frequencies within audio signals. What do certain frequencies do for sound and how we understand those sounds. Why are some sound harsh? Why do things sound muddy? Why can't I understand the vocals? I'll try and answer all of these question and hopefully bring some light to the voodoo world of EQ.

Vocals
Roughly speaking, the speech spectrum may be divided into three main frequency bands corresponding to the speech components known as fundamentals, vowels, and consonants.
Speech fundamentals occur over a fairly limited range between about 125Hz and 250Hz. The fundamental region is important in that it allows us to tell who is speaking, and its clear transmission is therefore essential as far as voice quality is concerned.
Vowels essentially contain the maximum energy and power of the voice, occurring over the range of 350Hz to 2000Hz. Consonants occurring over the range of 1500Hz to 4000Hz contain little energy but are essential to intelligibility.
For example, the frequency range from 63 to 500Hz carries 60% of the power of the voice and yet contributes only 5% to the intelligibility. The 500Hz to 1KHz region produces 35% of the intelligibility, while the range from 1 to 8KHz produces just 5% of the power but 60% of the intelligibility.
By rolling off the low frequencies and accentuating the range from 1 to 5KHz, the intelligibility and clarity can be improved.
Here are some of the effect EQ can have in regards to intelligibility. Boosting the low frequencies from 100 to 250Hz makes a vocal boomy or chesty. A cut in the 150 to 500Hz area will make it boxy, hollow, or tube like. Dips around 500 to 1Khz produce hardness, while peaks about 1 and 3Khz produce a hard metallic nasal quality. Dips around 2 to 5KHz reduce intelligibility and make vocals woolly and lifeless. Peaks in the 4 to 10KHz produce sibilance and a gritty quality.


Important to vocal intelligibility - Too much boost between 2 and 4KHz
can mask certain vocal sounds such as 'm', 'b', 'v'. Too much boost between
1 and 4KHz can produce 'listening fatigue'. Vocals can be highlighted at the 3KHz
area and at the same time dipping the instruments at the same frequency.
Accentuation of vocals:
The range from 1.25 to 8K governs the clarity of vocals. Too much in the area of 5 to 16K can cause sibilance.

Instruments
Mic'ing instruments is an art ... and equalizers can often times be used to help an engineer get the sound he is looking for. Many instruments have complex sounds with radiating patterns that make it almost impossible to capture when close mic'ing. An equalizer can compensate for these imbalances by accenting some frequencies and rolling off others. The goal is to capture the sounds as natural as possible and use equalizers to straighten out any non-linear qualities to the tones.
Clarity of many instruments can be improved by boosting their harmonics. In fact, the ear in many cases actually fills in hard-to-hear fundamental notes of sounds, provided the harmonics are clear. Drums are one instrument that can be effectively lifted and cleaned up simply by rolling off the bass giving way to more harmonic tones.

Here are a few other pin point frequencies to start with for different instruments. In a live sound situation, I might preset the console's eq to these frequencies to help save time once the sound check is under way. These aren't the answers to everything... just a place to start at.
Kick Drum:
Besides the usual cuts in the 200Hz to 400 area, some tighter bandwidths at 380Hz, 5kHz and shelf at 10k may help. The point of these frequencies makes for space for the fundamental tones of a bass guitar or stand up. I have also found a high pass filter at 40Hz to 50Hz will help tighten up the kick along with giving your compressor a signal it can deal with musically.
Snare Drum:
The snare drum is an instrument that can really be clouded by having too much low end. Frequencies under about 150Hz are really un-usable for modern mixing styles. I would suggest a high pass filter in this case. Most snares are out front enough so a few cuts might be all that is needed. I like to start with 260Hz, boost at 5kHz, and some 12K. This are just frequencies to play with. Doesn't mean you will use all. If the snare is too transparent in the mix but I like the level it is at, a cut at 5K can give it a little more distance and that might mean a little boost at 10K to brighten it up.
High Hats:
High hats have very little low end information. I high pass at 200Hz can clean up a lot of un-usable mud in regards to mic bleed. The mid tones are the most important to a high hat. This will mean the 400Hz to 1K area but I've found the 600Hz to 800Hz area to be the most effective. To brighten up high hats, a shelving filter at 12.5K does nicely.
Toms and Floor Toms:
Again, the focus here is control. I like to high pass at 100Hz which give more focus about tone rather than size. Most toms could use a cut in the 300Hz to 400Hz area. And there is nothing real usable under 100Hz for a tom... unless you are going for a special effect. Too much low end cloud up harmonics and the natural tones of the instrument. Think color not big low end. Boost at 5kHz and shelf at 10kHz to make things more aggressive. .
Over Heads:
In my opinion, drum over heads are the most important mics on a drum kit. They are the ones that really define the sound of the drums. That also give the kit some ambience and space. These mics usually need a cut in the 400Hz area and can use a good rolling off at about 150Hz. Again, they are not used for power.... these mics 'are' the color of your drum sound. Roll off anything that will mask harmonic content or make your drums sound dull. Cuts at 800Hz can bring more focus to these mics and a little boost of a shelving filter at 12.5K can bring some air to the tones as well.
Bass Guitar:
Bass guitar puts out all the frequencies that you really don't want on every other instrument. The clarity of bass is defined a lot at 800Hz. Too much low end can mask the clarity of a bass line. I've heard other say that the best way to shape the bass tone is to roll off everything below 150Hz, mold the mids into the tone you are looking for, then slowly roll the low end back in until the power and body is there you are looking for. If the bass isn't defined enough, there is probably too much low end and not enough mid range clarity. Think of sounds in a linear fashion, like on a graph. If there is too much bass and no clarity, you would see a bump in the low end masking the top end. The use of EQ can fix those abnormalities. High pass at 40Hz to 50Hz to tighten things up. .
Guitar/piano/ etc.:
These instruments all have fundamentals in the mid range. Rolling off low end that is not needed or usable is a good idea. Even if you feel you can't really hear the low end, it still is doing something to the mix. Low end on these instruments give what I call support. The tone is in the mids. 400Hz and 800Hz are usually a point of interest as are the upper mids or 1K to 5K. Anything above that just adds brightness. Remember to look at perspective though. Is a kick brighter than a vocal? Is a piano bright than a vocal? Is a cymbal brighter than a vocal?

In Closing
Equalizers are one of the most over looked and mis-used pieces of gear in the audio industry. By understanding equalizers better, an engineer can control and get the results he or she is looking for. The key to EQ'ing is knowing how to get the results you are looking for. Also, knowing if its a mic character or mic placement problem. EQ can't fix everything. It can only change what signal its working with. Equalizers are also a lot more effective taking away things in the signal than replacing what was never there.

Audio Recording

The Audio Home Recording Act of 1992 (AHRA) amended the United States copyright law by adding Chapter 10, "Digital Audio Recording Devices and Media". The act enabled the release of recordable digital formats such as Sony and Philips' Digital Audio Tape without fear of contributory infringement lawsuits.

Sound recording and reproduction is an electrical or mechanical inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording. Acoustic analog recording is achieved by a small microphone diaphragm that can detect changes in atmospheric pressure (acoustic sound waves) and record them as a graphic representation of the sound waves on a medium such as a phonograph (in which a stylus senses grooves on a record). In magnetic tape recording, the sound waves vibrate the microphone diaphragm and are converted into a varying electric current, which is then converted to a varying magnetic field by an electromagnet, which makes a representation of the sound as magnetized areas on a plastic tape with a magnetic coating on it. Analog sound reproduction is the reverse process, with a bigger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves. Electronically generated sound waves may also be recorded directly from devices such as an electric guitar pickup or a synthesizer, without the use of acoustics in the recording process other than the need for musicians to hear how well they are playing during recording sessions.

Rack Systems

Publish Post

Build the perfect sound system for your unique needs by selecting the exact rack to meet your specific needs. Then choose rack-mountable components from QSC, Denon, Stanton, Marantz, ETA, Rolls mixers, amplifiers, tape decks and wireless microphone receiver to complete your Supreme Sound Tower™. These sturdy racks are appropriate for either stationary or road use and hold all 19" wide rack equipment. Front to rear depth is 16" for the carpet racks, but may be deeper to accommodate larger audio components. Durable! Built to Last! Heavy-duty construction using 5/8" plywood with all steel rails.

Snap-lock, pressure-fit front and rear doors provide additional security and are easily removed for installation or use. Covered in black heavy-duty carpet-like material. Heavy-duty retractable steel handles. Other heights available on request.

Optional heavy-duty wheels are available to make it even easier to move the rack system from room to room or to secure it safely. Note: For proper ventilation, we recommend leaving the rear door cover off when in operation.

Racks are available with or without locking doors or wheels for added security and mobility! Please call to discuss other options.

Audio Producer

Download all segments needed from the MW crew, radio4all, Between the Lines, etc. All content should be converted to 44,100 hertz stereo before it is imported into the final audacity project for each half of the show. Also, files that are not WAV, MP3, or OGG may not be importable into audacity at all - most of these problem files will be WMA. Covert such files with CDEX to a temporary WAV file (F12, browse to source file [click on the 3 dots in the upper right of the window], select it, normalize checked if possible and delete original unchecked, click convert. When converted, rename the output file as appropriate and move it into this show's folder).

Play all content with winamp to ensure that it's in stereo and at 44.1 khz. Some audio that winamp won't play may still successfully import into audacity. Fix frequency first if needed by starting a new audacity project (file: new), import the audio file (project, import audio file...), set the project rate in the bottom left to 44100, and export as WAV to a descriptive new filename. If necessary, convert that file to stereo with CDEX, by converting the WAV to a stereo 128 kbps normalized MP3 file (F4, encoder: LAME..., "don't delete" unchecked, stereo, on the fly checked, 128 kbps, j-stereo, 44100 samplerate. Generic: clear tag-comment and encoded-by fields, normalized checked, click OK. Convert, convert WAV to compressed audio file, browse to source file, select it, normalize checked, delete original checked, click convert. When compressed, close CDEX, rename the output file as appropriate [it should be in the OUT folder on the desktop] and move it into this show's folder).

Converting to stereo can be done more quickly in Audacity. To make an entire project that is mono stereo, select all, copy, select project - new audio track, and paste into that new track. Click the triangle on the first track (see the left side of screen) and select "make stereo track." Export to WAV or MP3 as appropriate.

All content from audio CD's can also be extracted to stereo 128 kbps normalized MP3 files using CDEX as well (insert CD, select the track you want, F8...).

Audio Mixers

In professional audio, a mixing console, or audio mixer, also called a sound board or soundboard, is an electronic device for combining (also called "mixing"), routing, and changing the level, timbre and/or dynamics of audio signals. A mixer can mix analog or digital signals, depending on the type of mixer. The modified signals (voltages or digital samples) are summed to produce the combined output signals.
Mixing consoles are used in many applications, including recording studios, public address systems, sound reinforcement systems, broadcasting, television, and film post-production. An example of a simple application would be to enable the signals that originated from two separate microphones (each being used by vocalists singing a duet, perhaps) to be heard through one set of speakers simultaneously. When used for live performances, the signal produced by the mixer will usually be sent directly to an amplifier, unless that particular mixer is “powered” or it is being connected to powered speakers.

Audio Forensic

Forensic analysis and Expert Witness services for recorded evidence
# Audio and Video Tape Authentication
# Voiceprint Analysis and Voice Elimination
# Acoustical Compliance
# Audio and Video Tape Enhancement
# Patent and Technology Infringement
# Forensic Musicology and Copyright Infringement
# Audibility Analysis (voice, alarms, etc.)
# Acoustical Gunshot Analysis
# Acoustic Simulation for Accident Reconstruction

Music places certain demands on its tools when performing restoration and enhancement. The goal in music restoration is to remove as much noise as possible without introducing artifacts and to leave the remainder as "musical" as possible. With Audio Forensics, we are not constricted by these guidelines. The only goal, in most cases, is to audibly discern what is being said by certain individuals so that audio, previously obscured by noise can now be heard and understood. With those goals in mind, tools can be augmented to better service this different need. Though several important forensics audio applications can be performed with both our DC Millennium software and our DC SIX product, our DC LIVE/Forensics is designed to specifically deal with voice enhancement in situations where ambient noise is a major problem.


General Recording Techniques

Specific Forensics Tools In DC LIVE/Forensics

Choosing Your Software Tools

Screen Shot Of The Tools

An Educated Taste Test

Hear It For Yourself

Training, Training, Training

Anything Else I Need To Know?

Audio Equipment

Video conferencing services, telepresence systems, audio visual integration, ip network services, streaming video solutions, Web conferencing services, and audio conferencing services a world leader in providing managed solutions for today’s conferencing and collaboration technologies..

Recommended Hardware
The following video conferencing equipment recommendations are based on our experience with active customer installations. If you have a favorite vendor or spare camera that's Windows compatible, but is not on our recommended list, give it a try!
For PC & Laptop Users
1. Webcams & Cameras
2. Headsets with Boom Microphones
3. External Microphones
For Conference Rooms & Training Facilities
Standard Definition & HD Cameras
Audio Equipment
Standard Echo Canceller Microphones
Echo Cancellation Mixers
Video Conferencing Accessories & Specialty Equipment

Audio Engineering

Audio engineering is a part of audio science dealing with the recording and reproduction of sound through mechanical and electronic means. The field draws on many disciplines, including electrical engineering, acoustics, psychoacoustics, and music. Unlike acoustical engineering, audio engineering does not deal with noise control or acoustical design. An audio engineer is closer to the creative and technical aspects of audio rather than formal engineering. An audio engineer must be proficient with different types of recording media, such as analog tape, digital multitrack recorders and workstations, and computer knowledge. With the advent of the digital age, it is becoming more and more important for the audio engineer to be versed in the understanding of software and hardware integration from synchronization to analog to digital transfers.

Audio engineers come from backgrounds such as electrical engineering or the fine arts, and many colleges and accredited institutions around the world offer degrees in audio engineering, such as a BS in audio production. In the last 25 years, some contemporary music schools have initiated audio engineering programs, usually awarding a Bachelor of Music degree to graduates. Additionally, a number of audio engineers are autodidacts with no formal training.

Audio Conferencing Unit

Networks Audio Conferencing unit extends voice connectivity to conference rooms and offices with state-of-the-art clarity and reliability. It includes full-duplex technology and a keypad to access all of the conferencing features available from your Meridian Norstar phone system or BCM (Business Communications Manager).

Exceptional Voice Quality
With incredibly clear voice quality on both ends of the call, the Norstar Audio Conferencing Unit sounds just like a face-to-face meeting.

• 360-degree Voice Coverage. Three highly sensitive microphones can pick up a voice from any point in a 10' x 15' room. The unit offers the best performance when people are three to six feet from the microphones. But remember: side comments can be picked up from as far away as 25 feet!
• Digitally Tuned Speaker. The unit tunes out echoes and background noise and offers a crystal clear sound.
• Full Duplex Technology. Voices can be picked up and heard simultaneously -- even interruptions and overlapping dialogue. Conversations sound natural, with no clipped words and no time delays.

Technical Specifications

Audio Conferencing Unit

• Dimensions-6cm(H) x 35cm (W) x 33cm (D)
• Weight - 0.9Kg
• Audio bandwidth - 200 to 3500 Hz
• Loudspeaker volume - 89 dBSPL
• System power requirements-90 to 110VAC, 60 Hz
• Recommended room condition:
  • Reverberation time - <0.4>
  • Noise level-<48>
• Environmental specifications:
  • Operating temperature -5 to +40 (Celcius)
  • Operating humidity (non-condensing) 20%- 85%

Interface Module

• Dimensions - 5 cm (H) x 20 cm (W) x 8 cm (D)
• Weight - .34 kg
• Power - 20 VDC, 150 mA
• Cable length to console - 7.6m
• Cable length to telephone wall jack - 1.8m

Registration - UL, FCC, Industry Canada, CE
FCC Rules - Part 15, Class A
Canadian Department of Communications - ICES-003, Class A
EMC - Class A ITE
CE - 89/336/EEC & 73/23/EEC

Audio Conferencing Software

Holding an audio conference is a great way to conduct a simple meeting that enables a high level of productivity. At the same time it lets participants meet from the comfort of their own offices. Online audio conferencing uses the technology of voice over IP to allow you to hold a meeting over the Internet.

While complex audio-video conferencing installations may be expensive, there are audio-video conferencing software applications that can be downloaded from the Internet at no cost. This is particularly beneficial for smaller companies or other organizations that wish to take advantage of the benefits of audio-video conferencing.

Free audio-video conferencing software applications can be downloaded from Web sites that provide downloads in different categories such as software, music and video. The audio-video conferencing software applications are most likely to be found under the technical software category.

There are a few tips to keep in mind before downloading certain audio-conference software. You need to determine where the audio-video conferencing facility will be used. In most cases, free software is only applicable for small-time companies or organizations because of technical limitations.

Secondly, you may want to read posted reviews or ratings of the software. Download sites often include feedback forums for each featured software application. You may want to peruse comments from other users first before selecting an audio-video conferencing program to download. Aside from this, some download Web sites also feature a short description of the application software. This description usually provides a background on the preferred usage of the application and its limitations. Reading this description may help you determine if the application suits your needs.

It also helps to check the technical requirements of the featured software application. Free audio-video conferencing software usually requires an operating system of Windows 98 or higher. In addition, the user should check the estimated download time of the application. Free audio-video conferencing software applications have an average size of 330 KB. Depending on your connection speed, the download time may take between five minutes to an hour.

Shareware audio-video conferencing software applications can also be temporary. This means that the software can only be used without charge for a certain period of time. Hosting companies call this a trial period. Consider this option if you plan to buy a permanent and more advanced audio-video conferencing software application in the future.

Audio Conferencing Equipment

McAfee Secure sites help keep you safe from identity theft, credit card fraud, spyware, spam, viruses and online scams
Video Conferencing Equipment

Teleconferencing
Conferencing System
Audio Conferencing
Conference Call Services

Conference Phone
SoundStation
Speaker Phones
Wireless Conference Phones
IP Conference Phones
USB Conference Phones

Video Conferencing
Desktop Conferencing
Video Conferencing Software
HD Video Conferencing
Multi Point Conferencing

Web Conferencing
Web Meeting

Emergency Message Notification
Reverse 911
Emergency Management

Conference Call Phone - Free Shipping On Orders Over $299.00

We Accept All Credit Cards for Web Conferencing Solution

BBB Online for conference call services

Home

Telcom & Data offers collaboration technologies including Audio, Video and Web Conferencing Systems, Conference Phones, and Hosted Conference Call Services. Teleconferencing is no longer a luxury, it is a strategic requirement to manage information effectively and remain competitive. From weekly sales meetings, help desk support, distance learning, to customer end user training offerings, conferencing offers a fast and inexpensive alternative to travel. Owning your own conference bridge can greatly reduce travel expenses as well as providing an easier to use system that is custom to your specific requirements.

Out sourcing your conference calls to a conference call service can be cost effective for smaller users but for frequent users owning your own in house system can save your thousands annually. Most of our customers experience an ROI of only a few months with many added benefits when switching from a service to an in house system. Installing a conference bridge is easy Telcom & Data can install and setup your audio and web Conferencing Bridge in an afternoon. We offer bridges solutions for Government, Business, and Military applications from small 8 port analog audio conference systems to new state of the art custom VoIP and SIP Conference Bridges that go up to 960 ports.

Audio Conferencing

A conference call is a telephone call in which the calling party wishes to have more than one called party listen in to the audio portion of the call. The conference calls may be designed to allow the called party to participate during the call, or the call may be set up so that the called party merely listens into the call and cannot speak. It is often referred to as an ATC (Audio Tele-Conference).

Conference calls can be designed so that the calling party calls the other participants and adds them to the call - however, participants are usually able to call into the conference call themselves, by dialing into a special telephone number that connects to a "conference bridge" (a specialized type of equipment that links telephone lines).

Companies commonly use a specialized service provider who maintains the conference bridge, or who provides the phone numbers and PIN codes that participants dial to access the meeting or conference call.

Three-way calling is available (usually at an extra charge) for many customers on their home or office phone line. To three-way call, the first person one wishes to talk to is dialed. Then the Hook flash button (known as the recall button in the UK and elsewhere) is pressed and the other person's phone number is dialed. While it is ringing, flash / recall is pressed again to connect the three people together. This option allows callers to add a second outgoing call to an already connected call.

Audio Conference System

Audio Conference System & Teleconferencing Solution, also identified as Audio Conference Bridge

Our Audio Conferencing Bridge & Teleconferencing Solution connects seamlessly over TDM and Voice over IP networks. The audio conferencing system includes a comprehensive set of features and is easily customizable easily.

Our audio conference system is a conference bridge that caters to high volume scalability and integration required by Conferencing Service Provider and the ease of use and rapid return on investment sort after by enterprise clients.

The conference bridge is packaged to address the requirements for conferencing service providers and enterprises alike.

Conference Service Providers Selling conferencing as a service to their clients. They typically look for a solution with the following requirements Cost effective not limiting by per port costs and complex licensing, Scale according to their requirements Comprise features common in the conference industry plus easily address the unique requirements of their clients Easily integrate with their telecom infrastructure plus front and back end business processes.

Enterprises . Install a bridge for inhouse conferencing requirements connected to existing PBX infrastructure. Enterprise users of conference bridge wish to address the following requirements Ease of installation and use. Low entry price point and quick return of investements Directly terminating telecom lines and integrating into existing multi vendor PBX.s Custom greetings and labeling of the interfaces

Audio Conference Calls

Audio Conferencing provides high quality teleconferencing services at no charge. We offer an array of easy to use, productivity building tools, such as: Conference Call Recording, Online Access to Conference Call Recordings, Free Reservationless Conference Calling services and Recorded Conference Call Playback. These services are perfectly suited for one-on-one, or one-to-many coaching sessions, business meetings, tele-seminars, and other business functions.

Compact Cassette

The Compact Cassette, often referred to as audio cassette, cassette tape, cassette, or simply tape, is a magnetic tape sound recording format. Although originally designed for dictation, improvements in fidelity led the Compact Cassette to supplant reel-to-reel tape recording in most non-professional applications. Its uses ranged from portable audio to home recording to data storage for early microcomputers. Between the early 1970s and late 1990s, the cassette was one of the two most common formats for prerecorded music, first alongside the LP and later the Compact Disc. Cassette is a French word meaning "little box."

Compact Cassettes consist of two miniature spools, between which a magnetically coated plastic tape is passed and wound. These spools and their attendant parts are held inside a protective plastic shell. Two stereo pairs of tracks (four total) or two monaural audio tracks are available on the tape; one stereo pair or one monophonic track is played or recorded when the tape is moving in one direction and the second pair when moving in the other direction. This reversal is achieved either by manually flipping the cassette or by having the machine itself change the direction of tape movement ("auto-reverse").