Digital recording in the context of Color

Sound recording and reproduction is the electrical, mechanical, electronic, or digital 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 microphone diaphragm that senses changes in atmospheric pressure caused by acoustic sound waves and records them as a mechanical representation of the sound waves on a medium such as a phonograph record (in which a stylus cuts 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 larger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves.

A recording studio is a specialized facility for recording and mixing of instrumental or vocal musical performances, spoken words, and other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally, both the recording and monitoring (listening and mixing) spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties (acoustic isolation or diffusion or absorption of reflected sound reverberation that could otherwise interfere with the sound heard by the listener).

Recording studios may be used to record singers, instrumental musicians (e.g., electric guitar, piano, saxophone, or ensembles such as orchestras), voice-over artists for advertisements or dialogue replacement in film, television, or animation, Foley, or to record their accompanying musical soundtracks. The typical recording studio consists of a room called the "studio" or "live room" equipped with microphones and mic stands, where instrumentalists and vocalists perform; and the "control room", where audio engineers, sometimes with record producers, as well, operate professional audio mixing consoles, effects units, or computers with specialized software suites to mix, manipulate (e.g., by adjusting the equalization and adding effects) and route the sound for analog or digital recording. The engineers and producers listen to the live music and the recorded "tracks" on high-quality monitor speakers or headphones.

Video art is an art form which relies on using video technology as a visual and audio medium. Video art emerged during the late 1960s as new consumer video technology such as video tape recorders became available outside corporate broadcasting. Video art can take many forms: recordings that are broadcast; installations viewed in galleries or museums; works either streamed online, or distributed as video tapes, or on DVDs; and performances which may incorporate one or more television sets, video monitors, and projections, displaying live or recorded images and sounds.

Video art is named for the original analog video tape, which was the most commonly used recording technology in much of the form's history into the 1990s. With the advent of digital recording equipment, many artists began to explore digital technology as a new way of expression. Video art does not necessarily rely on the conventions that define theatrical cinema. It may not use actors, may contain no dialogue, and may have no discernible narrative or plot. Video art also differs from cinema subcategories such as avant garde cinema, short films, and experimental film.

A tape drive is a data storage device that reads and writes data on a magnetic tape. Magnetic-tape data storage is typically used for offline, archival data storage. Tape media generally has a favorable unit cost and long archival stability.

A tape drive provides sequential access storage, unlike a hard disk drive, which provides direct access storage. A disk drive can move to any position on the disk in a few milliseconds, but a tape drive must physically wind tape between reels to read any one particular piece of data. As a result, tape drives have very large average access times. However, tape drives can stream data very quickly off a tape when the required position has been reached. For example, as of 2017 Linear Tape-Open (LTO) supports continuous data transfer rates of up to 360 MB/s, a rate comparable to hard disk drives.

Magnetic-tape data storage is a system for storing digital information on magnetic tape using digital recording. Commercial magnetic tape products used for data storage were first released in the 1950s and have continued to be developed and released to the present day.

Tape was an important medium for primary data storage in early computers, typically using large open reels of 7-track, later 9-track tape. Modern magnetic tape is most commonly packaged in cartridges and cassettes, such as the widely supported Linear Tape-Open (LTO) and IBM 3592 series. The device that performs the writing or reading of data is called a tape drive. Autoloaders and tape libraries are often used to automate cartridge handling and exchange. Compatibility was important to enable transferring data.

AVCHD (Advanced Video Coding High Definition) is a file-based format for the digital recording and playback of high-definition video. It is H.264 and Dolby AC-3 packaged into the MPEG transport stream, with a set of constraints designed around camcorders.

Developed jointly by Sony and Panasonic, the format was introduced in 2006 primarily for use in high definition consumer camcorders. Related specifications include the professional variants AVCCAM and NXCAM.

D-1 or 4:2:2 Component Digital is an SMPTE digital recording video standard, introduced in 1986 through efforts by SMPTE engineering committees. It started as a Sony and Bosch – BTS product and was the first major professional digital video format. SMPTE standardized the format within ITU-R 601 (orig. CCIR-601), also known as Rec. 601, which was derived from SMPTE 125M and EBU 3246-E standards.