Atmospheric Recording Music Master System

Atmospheric Recording
Continuous Numerical Digital Master

The Atmospheric Recording system is a 100 percent accurate, and repeatable continuous numerical digital signal storage platform designed to create Master Recordings with "zero" missing signal between discrete sampling. This is achieved without simple interpolation between conventional digital sampling frequencies. The amplitude, or volume unit of the signal is separated from the signal itself, creating two separate continuous numerical digital master tracks per microphone sensor, with many microphone sensors used per single instrument channel, of which many channels per instrument is usually desired. Also included are many environmental tracks of dynamic bit depth including video instrument sensors, GPS, altitude, barometric, air density, speed of sound, and many different frequency microphones per instrument. Superior to any previous signal storage technology, analog or digital. The master recording retains the subtle details necessary for successful mixing, and editing thousands of channels together without generating more digital sampling quantization noise in the process. Digital filtering and or analog filtering at each and every stage of recording with playback has an accumulative distortion error consequence, and is not required with the Atmospheric Recording system. Compared to a single conventional microphone channel of 192,000 digital samples per second at 24 bits generating 0.576 Megabytes per second, The "single channel" of the Atmospheric Recording system will generate over 100+ Megabytes per second, and many simultaneous "single channels" will be required. The Codex Grandeur is a separate technology that is designed to provide 100+ times lossless digital compression specifically for the Atmospheric Recording system.
Sampling frequency and bit depth have been eliminated. Rail clipping is not possible.
The Atmospheric Recording continuous numerical digital master system is infinite digital sampling rate capable. It will look down on any and all existing digital sampling rates, and digital network streaming rates with superior conversion ability. With the Atmospheric Recording system continuous numerical master recording format, ANY digital bit depth, and ANY sampling frequency can be generated with 100 percent accuracy. ANY analog recording signal format can be generated with 100 percent accuracy, and with all the advantages of digital. The Atmospheric Recording system signal generation is not limited to microphones, or other conventional sensor systems, and will easily enhance computer generated instrumentation where the sound first meets the atmosphere at the output speaker, as with the Singing Wind.
Page 1 of 33 Codex Grandeur L.L.C. Copyright October 17, 2013
The Atmospheric Recording system is also used in multi-dimensional continuous numerical digital signal creation of the different product www.singingwind.us, and not limited to microphone recording. The continuous numerical digital signal can be edited, and mixed from modified digital audio workstations without any loss of integrity from the use of digital filters, analog filters, compressors, or coloring. Effects can be added or subtracted from copies of the master recording. A special 64 bit or 128 bit digital format at millions of samples per second can be generated from the same Atmospheric Recording system continuous numerical digital master specifically for low cost, high quality, consumer electronic playback hardware. Switching digital to analog transistors, driven directly by the new format signals, are located at each and every one of the many speakers, without crossover networks. The normal signal to pre-amplifier, to amplifier, to crossover network, to speaker is now simply signal to speaker. This will increase the number of speakers available, dramatically improve the music quality, and reduce cost by thousands of dollars in hardware not required for every home. The Atmospheric Recording system has nothing to do with human hearing, concentrating on atmospheric recording. People who have spent their lives recording music say analog master recording has been superior to any digital master recording, because the missing field of intimate details leaves the listener wanting. In the reality of real life signal creation, it is very difficult to be bounded by the tight digital limitations, requiring compressors, and other distortion to remain inside the voltage limit rails of digital recording. The analog curve-off distortion is superior to the digital cut-off or clipping from hitting the rails. It is also possible to over compensate and not get close enough to the rails, resulting in a serious loss of signal detail at low amplitudes. The digital master recording window of rail to rail is extreme, too tight, and very unforgiving compared to analog master recording. The argument that no one can hear the details of 24 bit 192,000 samples per second, so why would anyone want more detail is a false comparison, because the Atmospheric Recording system has nothing to do with human hearing. The Atmospheric Recording system continuous numerical recording format is designed for computer manipulation, and analysis of the subtle detail necessary for accurate mathematics. Many new technologies for low cost consumer electronic products with superior sound are possible with the Atmospheric Recording system, that are not possible with conventional 24 bit 192,000 samplers per second. From the perspective of consumer electronics, and music customer, the Atmospheric Recording system will appear as low cost, high performance audio content, and audio hardware, especially with the more than 22.2 plus audio channels replacing the 5.1 surround sound proposed more than five years ago for 8K televison in home theaters. The Atmospheric Recording system is designed to deliver high performance technology with low cost, over existing moderate internet bit rates, with complete security over the open internet for artist, and distributors. Atmospheric Recording system also supports any, and all analog, or digital recording formats in existence with 100 percent accuracy.
The Atmospheric Recording system will characterize each, and every musician with their instruments separately before a master recording. It is not necessary to physically separate musical instruments or musicians with separate microphones or sound insulation. It will not be necessary to create separate microphone channels for each and every musical instrument, or musician after characterization. The quantity of microphone channels can be significantly reduced, and the microphone physical position is not as critical with the Atmospheric Recording system. More editing and mixing information is available from fewer microphone channels with the extreme details contained inside the Atmospheric Recording system continuous numerical master recording, than are available with hundreds, or thousands of separate tracks of 24 bit 192,000 samples per second. The extreme accuracy, frequency, dynamic range, and separation of amplitude from the signal, creates the ability to work with known individual characteristic signatures of individual instruments and musicians, including the human voice can be isolated. The volume of any single musical instrument can be changed without any form of compression affecting anything else on the recording. Anything can be isolated, changing entire instruments, voices, environment effects, on each and every channel individually, without editing or mixing hundreds to thousands of different tracks. This will be the equivalent of physically moving the microphone around during a live recording. The single channel continuous numerical detail allows the Atmospheric Recording system to create master recordings from existing recordings without IIR, FIR, or common filter transforms. This creates the retro-generation possibility where old recordings can be regenerated with the original musician on new musical instruments, retro-generated human voices, and new environmental stages. The Atmospheric Recording system not only records extended frequency range, it also has extended dynamic range with extreme bit depth that allows transient events that occur in uncontrolled environments found in reality. This creates a very forgiving format for live performances. A live movie location with horrible wind noise can be recorded live with the Atmospheric Recording system, and when the recording studio finishes editing and mixing, the voices are dubbed automatically, the background noises are separated automatically, and every sound is replaced with perfect timing and subtle nuance. As long as the microphone does not physically saturate, the extended dynamic range of the Atmospheric Recording system will support very close physical location positioning of the microphone for super discrimination of instruments and musicians, while supporting extended background recording at the same time. This is currently not possible without extended analog compression creating distortion on any existing master recording format analog, or digital.
24 bit 192,000 samples per second has a very limited window of dynamic range in the practical reality of music master recording. The position of the microphone is extremely critical, and if it is too close it will saturate, and if it is too far away the background environment absorbs the music with a complete loss of detail. That is why so many microphones creating tens, to hundreds, to thousands of tracks become necessary to cram them all into a few channels distributed to the consumer. 24 bit 192,000 samples per second is often compared to the dynamic range of human hearing. In a perfected, controlled, and crafted environment, 24 bit 192,000 samples per second digital does approach the limited range of human hearing, "and yet something is still missing", dry, and not as involving as analog. The Atmospheric Recording system Master Recording is designed for atmospheric recording. Human hearing by the ear and brain encompass only a part of the sound inside the atmosphere. Many subsonic, and supersonic sounds that the human eventually perceives as sound ,may have very little to do with hearing. Ignoring frequencies below or above the human ear range has proven to be a mistake in master recordings. The Atmospheric Recording system continuous numerical digital master recording is superior to any and all existing recording formats analog, or digital. The Atmospheric Recording system can generate with 100 percent accurate sample rates any, and all existing analog master recording formats, and digital recording bit depth and sample rates, from Compact Disc 16 bit 44,100 samples per second, 24 bit 96,000 samples per second, to the standard 24 bit 192,000 samples per second currently used for master recordings. Also all digital serial formats including SACD, and DSD, including anything above and beyond yet to be created for consumer electronics. For over ten years the digital sample rate of 24bit, 192,000 samples per second has been used for Master Recordings. It is the result of a complex set of limitations including signal to noise ratio, economics of materials, mathematics, physics, semiconductors, digital storage, and politics. With the Atmospheric Recording system it is no longer required to compromise quality, and integrity when creating a digital master recording with, or without the controlled environment of a recording studio. Many new capabilities are possible when the subtle details are stored for usage. Missing minute detail will create noise and, or distortion especially when mixed with other tracks of missing minute detail. Differential analysis in real-time can convert an uncontrolled environment with random background noise generation, into a controlled studio recording. Since all channels are digitized and stored, the process can be hyper discriminative with retro-generation in the studio mix. This will require the subtle details missing with digital sampling of 24 bits at 192,000 samples per second master recordings.
Compact Disc Verses Cassette Tapes

The music stored on cassette tapes can never create the full detail, and dynamic range possible with the Compact Disc format of 16 bit 44,100 samples per second. The Compact Disc format of 16 bit 44,100 samples per second can never create the full detail, and dynamic range possible with 24 bit 192,000 samples per second. The 24 bit 192,000 samples per second can never create the full detail, and dynamic range possible with the Atmospheric Recording system continuous numeric master recording format. The Atmospheric Recording system continuous numeric master recording format can with 100 percent accuracy create any existing analog, or digital recording format. Many unique abilities are possible when the full analog detail is recorded with the Atmospheric Recording system, that no existing master recording format is capable of. New playback consumer electronic products are made possible, with lower cost including higher quality over average existing internet bandwidth. For many decades the psychophysics of human perception has told us what we can, and can not perceive, and what our brain can, and can not process. MP3 is a Lossy Compression format where detail, and frequencies are actually removed from the music. The London Symphony Orchestra has formally stopped releasing recordings on the MP3 format because of the missing details. It is true that most home audio systems can not handle extreme frequencies or extreme detail at this time, however it is the purpose of Atmospheric Recording system to create new low cost high performance consumer electronics that are not possible at this time with existing recording formats, and will not be possible with the current course, speed, and direction of the music industry. The Atmospheric Recording system continuous numeric master recording is the first step toward changing the continued miniaturization of centuries old philosophies, and centuries old physical perceptions. When the crystal glass on the kitchen table explodes with the new technology, and does not with current technology, something is different.
FLOP Floating Point Operations Per second

Digital Audio Workstations (DAW) have started to incorporate options for 32 bit, and 64 bit recording formats. This typically applies to application of computer floating point formats, and will not increase 24 bit, 192,000 samples per second into 32 bits or 64 bits. Many people seem to think that floating point is a superior mathematical concept because of the floating point operations per second, megaflops, gigaflops, and teraflops ratings of supercomputers. The floating point is a lossy compression system required fifty years ago because of limited physical resources, and should have been abandoned decades ago. Long ago and far, far away, there was a good reason to have floating point. The agreed upon standard is the IEEE 754. It allows computer architectures with limited resources to work with very large numbers that are beyond the computer architecture bit capacity. The nature of a floating point is to achieve a lossy bit compression system by storing only the most significant bits possible, and actually discarding the least significant bits. The trade off for working with numbers beyond the computer architecture bit capacity, is the dropping of potentially vital details, deemed to be insignificant by themselves. Ironically the enormous quantity and speed of calculations achieve a very significant accumulated error, demonstrated in many serious long term practical application failures over the decades of usage. This has the very serious consequence of destroying the integrity of many long term numerical modeling simulations. The once good reason for having floating point has been miniaturized along with all the other once good reasons for archaic computer architectures, into thousands of once huge data centers onto a single module. Much, much more of the same old thing, over, and over again with the excuse of using legacy software with less expensive hardware. The Atmospheric Recording system is a master recording format, with much more information being recorded than the traditional microphone signal by itself. This is especially necessary when the Atmospheric Recording system is working with computer generated musical instruments, and no microphones are involved. This extra data is required when working with true three dimensional music recording, and even more important, for the many different playback formats. The Atmospheric Recording system is designed to work with the COURSAYRE Processor Element computer architecture at www.coursayre.com. The COURSAYRE Processor Element does not require Floating Point Operations, and typically operates beyond the range of IEEE 754 double precision numerical capacity of the Titan Supercomputer.
Microphones
Existing microphones do not cover the frequency range of 0 to 100,000 plus cycles per second, however the Atmospheric Recording system analog to digital converter has the ability to combine many different atmospheric sensors, including existing audio microphones into one single channel. This includes laser, shotgun, parabolic, fiber optic, piezoelectric, pressure sensors, and other specialized microphone combinations for unique location considerations. Most single channel microphone combinations will be typically five, to hundreds of different frequency range atmospheric sensors combined into one singe microphone channel. Because of the extreme dynamic range of the Atmospheric Recording system, very low cost Microelectromechanical Systems (MEMS) microphones can be placed in a normally saturated position, creating very detailed position signals normally distorted, or absorbed in the atmosphere before ever reaching any microphone. Many small microphones may create new details that do not take away from the traditional microphone response, and are made available for editing and mixing. The Atmospheric Recording system analog to digital converter is located as close as practical to the microphones to reduce the electrical cable length, with a small metal box representing each separate channel. Special small modules allow impedance matching for each different microphone. Each and every small metal box has its own 10 gigabit per second copper cable up to 100 meters or just over 300 feet back to the Coursayre Processor Element computer system. A low cost fiber optic cable transmitting up to 300 meters or just under 1,000 feet back to the Coursayre Processor Element computer system is also possible. Greater lengths are possible. Any and all dynamic recording parameters can be changed in real time from the Coursayre Processor Element to the small metal boxes containing the different microphone channels of the digital audio workstation, and or the separate Atmospheric Recording system control panel.
Ambisonics
Ambisonics was invented in the early 1970's, and is immediately practical with the Atmospheric Recording system continuous numerical master recording format. Ambisonics was invented by Michael Gerzon of the Mathematical Institute, Oxford, with Professor Peter Fellgettof the University of Reading, David Brown, John Wright and John Hayes. The Atmospheric Recording system is able to implement the Ambisonics based design with no compromise to existing microphone systems, and achieve 2 dimensional planer, and 3 dimensional spherical recording with the detail retention, and control not possible with a single microphone at 24 bit 192,000 samples per second. The Ambisonics soundfield microphones will enhance the ability of Atmospheric Recording system to control the 3 dimensional "Microphone Walkthrough", amplitude, volume panning of a Atmospheric Recording system continuous numerical master recording of a orchestra, live performance, recording studio, or any environment. This is currently achieved with the digital audio workstation by the differential of the individual recorded tracks from each of the four or more microphones. The different tracks from each microphone are processed, edited, and mixed, then typically formatted for playback through speaker systems. This is processing the tracks externally, from the outside to the inside. All existing DAW's digital audio workstations now work from the outside to the inside of the signal. Attempts to work inside the signal are usually limited to amplitude, or frequency separation, without knowledge of what or where the separated amplitude, or frequency comes from. There is no ability to isolate individual musical instruments, musicians, or human voices. The Coursayre Processor Element is capable of the real time processing, and the editing with mixing of recorded microphone channels from the inside to the outside of the individual microphone channel signal. The ability to separate individual sound sources on each, and every microphone channel is enhanced with the Ambisonic soundfield microphones. The Atmospheric Recording system continuous numerical master recording of the finite details creates this new ability. It is now not only possible to move the apparent microphone through an orchestra after it has been recorded, it is now possible to move the piano by itself across the stage, without isolated recording tracks of the piano by itself. Over the years it has been proven that more detail, and improved playback is possible with many more microphone channels using the Ambisonic soundfield microphones. The Atmospheric Recording system will handle any number of microphone channels, and with the built in Codex Grandeur inside the Coursayre Processor Element secure processor 100 plus LOSSLESS compression, practical distribution of many channels is possible. The standard Blu-ray 8 LPCM audio channels can be increased to 800 LPCM audio channels, requiring only the Coursayre Processor Element secure processor running the Codex Grandeur at the Blu-ray player. The Atmospheric Recording system is designed to create new formats that reduce the hardware cost of consumer electronics required to support hundreds of separate sound channels over existing moderate internet lines, and the Blu-ray Disc.
Master Recording Studio

From the perspective of the master recording studio, the increased cost of Atmospheric Recording system technology is centralized at this position, removing as much cost as possible from the consumer electronics music customer. This creates a look down perspective that is not possible with 24 bit 192,000 samples per second, where many consumers have similar capabilities. The Atmospheric Recording system is less expensive than existing 24 bit 192,000 samples per second master recording studio hardware. Because the Atmospheric Recording system is recording details not possible with 24 bit 192,000 samples per second, the storage required is slightly greater. With the Codex Grandeur, the Lossless Compression storage requirements will be up to 100 plus times less. The spinning magnetic disk or hard disk drive (HDD) provides the best price performance for large volume storage at this time. The solid state drive (SDD) is a semiconductor flash memory version of the spinning magnetic disk, and is currently more expensive. It is desirable when high frequency random location access is critical. The nature of master recording for music requires more sequential access, than random access. New technologies are on the way to further reduce the cost of large scale sequential access necessary for the Atmospheric Recording system, probably within the next ten years.
Hardware Required
The Coursayre Processor Element is the computer for the Atmospheric Recording system. The Coursayre is explicitly designed to be a secure processor that supports trade secrets, real time signal processing, and the Codex Grandeur. It is usually located next to the existing personal computer running the digital audio workstation software, that has been modified for the Atmospheric Recording system continuous numerical master recordings. The Coursayre handles the HDD's that are dynamically arrayed for the RAW, editing, and mixing Atmospheric Recording system continuous numerical master recordings. Each microphone channel is represented by a small metal box located as close as possible to the microphone, with accompanying atmospheric transducers for extended frequency range. The small metal box contains a 10 Gbits transceiver with 100 meters of low cost copper cable, 300 meters of low cost fiber optic link, or thousands of meters of very expensive fiber optic link back to the Coursayre.
The small metal box will support many combinations of hardware, from one single microphone channel, to ten different microphone channels supporting the Atmospheric Recording system continuous numerical master recording format. The hardware can also be included to support 1,736 microphone channels of the standard 24 bit 192,000 recording format only, replacing the ten different microphone channels supporting the Atmospheric Recording system continuousuos numerical master recording format. This may be desirable with experimental microphone array formats. The number of small metal boxes containing the microphone channels is unlimited. The Coursayre will build up in scale to handle any number of microphone channels. The HDD array of the Coursayre will also scale up for any number of microphone channels, and length of recordings. Currently available 5 terabyte magnetic tape cartridges are available for about $300.00 each. The typical internet Cloud solution is many, many times more expensive per year, than the simple purchase of more HDD's. The Atmospheric Recording system continuous numerical master recording format is designed explicitly for use with the Codex Grandeur. The Codex Grandeur is a LOSSLESS music compression system that performs at 100 times plus, versus the almost 2 times LOSSLESS music compression of any other system for very detailed music, if it was capable of working with the Atmospheric Recording system continuous numerical master recording at all. This means the 250 HDD's can be reduced to less than 3 HDD's reducing the cost from $50,000.00 to well under $500.00 for the complete master storage of any master recording session. The Codex Grandeur is also a secure coding system that allows multiple copies of 3 HDD back-up units to be stored remotely at different locations offsite for physical security, without the possible theft, or intercept of the master recording. It is now possible to consider the internet Cloud as a possible solution. The Atmospheric Recording system, and the Codex Grandeur are designed to work with the COURSAYRE Processor Element computer architecture at www.coursayre.com. The COURSAYRE is a secure processor designed explicitly to secure trade secrets. The COURSAYRE communicates with personal computer platforms running the digital audio workstation editing, and mixing software.
Magnetic Recording
Two inch multi track magnetic tape has been the analog reference master recording technology for recent decades long after magnetic tape succeeded 78 rpm disc recordings for quality, length, and editing ability by the Germans during World War II. Direct recording to phonograph disc lathe cutting can provide superior performance, however the practical difficulty of no editing ability made this option impractical for the majority of applications. Magnetic tape can still perceived to be superior in subtle nuance ability when compared to digital sampling of 24 bits at 192,000 samples per second master recordings, even when the problems of magnetic tape are also considered. Loss of intimate detail at very quiet passages, and subtle loss of intimate detail in busy, complex passages with digital master recordings are cited by lifetime musicians, especially in uncontrolled studio live on stage performances. What has been described as "rust on sticky tape", is a continuous analog recording medium as are the recording grooves of a phonograph disc. While proven to be economical for mass consumer electronics distribution, the recording master for the final released phonograph disc is usually stored and mixed first with magnetic tape machines. The many physical limitations in the recorded groove of a phonograph disc are still expensive, and difficult to overcome even with current technology. Magnetic tape has the inherent advantage of millions and millions of magnetic particles every inch that directly have influence on the magnetic heads. Each and every particle has its own "magnetic domain" that is rotated between the north and south poles. Each and every particle has its own complex atomic structure that has many "magnetic domain's" also. The magnetic field force effect is well observed, equated, and studied. The magnetic field force itself remains a physical phenomena. During manufacture of magnetic tape, a magnetic field is often applied to align the particles for mechanical bias. Before recording a very high frequency is written to the recording track for better particle domain response. The recording head creates a magnetic "flux" that influences the polarity of any or all domains in the field. The retentivity of the particular magnetic particle material will determine the percentage of recorded signal, and it will never be exactly the same twice, or exactly repeatable because of the analog physics. It is good enough that an acceptable repeatability is possible. The advantage is that 15 to 30 inches per second mean a continuous stream of magnetic particles is presented to the read and write heads for recording and playback. The width and speed of the magnetic tape determine the audio frequency quality, especially at high frequency. The cassette tape is a victim of high frequency hiss noise, and missing detail caused by a lack of magnetic tape surface speed, lack of surface area containing magnetic particles available due to dimensional physics, and economics. "Dolby Noise Reduction" was one famous attempt to improve the situation that was so bad it welcomed the Compact Disc digital quality of 16 bits at 44,100 samples per second that was a great improvement at the time for consumer electronics.
Digital recording is 100 percent accurate, and repeatable at the discrete sampling point only, everything between the sampling points is missing. Magnetic recording is not 100 percent accurate, however the millions and millions of magnetic particles per inch provide a continuous flux change with each particle representing an independent analog sampling where no information is completely missing as it is for discrete digital sampling of 24 bit 192,000 samples per second.
James Lee McDaniel Chief Executive Officer/President www.atmosphericrecording.com atmosphericrecording@gmail.com
Continuous Numerical Digital Master Analog to Digital Patent Application Codex Grandeur L.L.C. Copyright 2013 Codex Grandeur L.L.C. Copyright 2013 Codex Grandeur L.L.C. Copyright 2013 Codex Grandeur L.L.C. Copyright 2013 Patent Application Patent Application Patent Application Analog to Digital Analog to Digital Analog to Digital
Fibre Channel Laser Fibre Optic Interface New Design
32 Disk Switch Any Processor Element to Any Disk
Continuous Numerical Digital Master Analog to Digital Patent Application Codex Grandeur L.L.C. Copyright 2013 Codex Grandeur L.L.C. Copyright 2013 Codex Grandeur L.L.C. Copyright 2013 Codex Grandeur L.L.C. Copyright 2013 Patent Application Patent Application Patent Application Analog to Digital Analog to Digital Analog to Digital
Continuous Numerical Digital Master Analog to Digital Patent Application Codex Grandeur L.L.C. Copyright 2013 Codex Grandeur L.L.C. Copyright 2013 Codex Grandeur L.L.C. Copyright 2013 Patent Application Patent Application Analog to Digital Analog to Digital
Continuous Numerical Digital Master Analog to Digital Patent Application Codex Grandeur L.L.C. Copyright 2013
32 Disk Switch Any Processor Element to Any Disk

Digital Audio Workstation-Fibre Channel Link

Continuous Numerical Digital Master Analog to Digital Patent Application Codex Grandeur L.L.C. Copyright 2013 Codex Grandeur L.L.C. Copyright 2013 Patent Application Analog to Digital
32 Sensor Array = 4 Primary Microphone Sensors, Camera, and 128 Musical Instrument Sensors Each
Each of the 32 Sensor Arrays connected by Fibre Optics Cable and Fibre Channel
All 32 Sensor Array Digital Music Data Stored Simultaneous Real Time in 32 Fibre Channel Disk Drives
Another 32 Fibre Channel Disk Drives supporting the COURSAYRE PROCESSOR ELEMENT Secure Processor
Two Independent 32 Disk Array Switch Allowing Instantaneous Any Processor Element to Any Disk
Fibre Channel Processor to Sensor Array Real Time Digital Music Data Recording Analysis
Independent, Isolated, and Simultaneous Seperate Fibre Channel Loop for Music Data Transfer to Digital Audio Workstation Multiple Control Panel Fibre Channel Remote Page 13 of 33 Codex Grandeur L.L.C. Copyright October 17, 2013

Atmospheric Recording Music Master System

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Atmospheric Recording

Continuous Numerical Digital Master

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Compact Disc Verses Cassette Tapes

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FLOP Floating Point Operations Per second

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Master Recording Studio

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James Lee McDaniel Chief Executive Officer/President www.atmosphericrecording.com atmosphericrecording@gmail.com

Page 12 of 33 Codex Grandeur L.L.C. Copyright October 17, 2013

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master

Fibre Channel Laser Fibre Optic Interface New Design

32 Disk Switch Any Processor Element to Any Disk

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master

Fibre Channel Laser Fibre Optic Interface New Design

Fibre Channel Laser Fibre Optic Interface New Design

32 Disk Switch Any Processor Element to Any Disk

Fibre Channel Laser Fibre Optic Interface New Design

Continuous Numerical Digital Master