Audio and video trends 2022

There’s no doubt that the audio visual industry has proven its ability to survive and thrive in trying times. Global events have facilitated the rapid evolution of audio visual technologies, and these only continue to advance. Here are some audio visual trends for 2022 collected from many sources (click the link colored to text to get to the information source):

Growing consumer demand for audio content: People are listening to all forms of audio content: news, music, podcasts and books. Nielsen reports 75 per cent of people working from home are streaming music every week, with 40 per cent tuning in daily.

Rapid smart speaker adoption: Smart speakers and voice assistants are becoming common home appliances. One-third of U.S. households are equipped with smart speakers and 44 per cent of U.S. adults use voice assistants. Smart speakers let listeners to respond to ads using voice commands. Consumers are rapidly embracing voice to access information, entertain themselves and shop. The ability to instantly answer consumers’ questions and help them solve problems is becoming a key advantage for marketers who lean into audio.

Digital Audio is becoming multi-devices: Historically, digital audio has been widely consumed via mobile devices; it can now also be launched from a variety of new technologies including tablets, connected speakers, TVs and even smart watches.

Prosumer audio: Prosumer audio gear has remained on a steady upward curve over the last few years. With podcasting, live streaming, and at-home work solutions more popular than ever, it’s been a fantastic few years for prosumer audio sales. Their need for reliable, slightly elevated gear to take their content to the next level is proving highly profitable for certain companies.

Social sound: Audio fans are getting more social than ever, thanks to new apps that allow like-minded users to communicate without the screen fatigue or doom-scrolling associated with photo and video-based social networks.

3D audio: Spatial or 3D audio has firmly found its footing in the video game industry, with Sony and Microsoft’s next-gen consoles both natively supporting the feature.

Content Still Rules: Audiophiles are fiercely loyal to their favorite DJs, hosts, podcasters, artists and stations. As a result, they’re spending more time than ever listening to audio daily. Listeners consume programming on their own terms.

Streaming rules: Streaming music now account for more than 85% of all music enjoyed. Only 6% of music is now downloaded, even less than is physically purchased in the form of records, CDs, or the last tapes.

TikTok has caused a seismic shift in the world of content creation, skewing it ever further into a mobile-first industry. To capitalise on the market, more and more mobile-friendly gear is being created, forgoing the need for hundreds of adaptors and plugging straight into AUX, USB-C, or iPhone ports (or working wirelessly).

Many amplifier technologies in use: While classic class AB amplifiers are more and more often replaced with class D amplifier technology, there is still special audiophile markets for class A amplifiers and tube based amplifiers. New technology just coming to the class D amplifiers are GaN-based audio amplifier powered with switch mode power supply. They promise premium audio systems with good sound quality in a small and light format.

Vinyl records: Vinyl is here to stay, it seems, despite all technological advances that would have seemed to threaten it. Vinyl records (and coincidentally, cassette tapes) are selling like hot cakes again. Vinyl sales have been steadily rising for some time, but in 2020 for the first time in 34 years, vinyl has surpassed CD sales.

Streaming has killed CD: CDs sales are continuously and quickly declining thanks to streaming and music flash drives.

The race to wireless zero latency: Companies around the world are racing to find a solution that all but eliminates latency from wireless audio, removing the need for cables in an increasingly space, waste, and aesthetically-conscious world.

Green screens: As events become more hybrid, green screens will play a significant role, enabling speakers to be placed directly in the content becoming part of the message. Green screens are a great cost-effective way to insert branding and infographics, which works perfectly for online events and we will see them become adopted further for conferences. There are also cameras with depth sense features and software that can use pretty many background for green screen type effects without building a real green screen.

Hybrid events: Events have had to embrace the constant mix of who can attend, who can possibly attend and who is not afraid to attend and as such have flipped to hybrid. Although not necessarily an AV trend, hybrid events are unsurprisingly on the increase as people work from home and corporate travel is halted. In those events content needs to be clear and targeted to get the information across efficiently. There is demand for standalone apps that can enhance hybrid events such as Slack, Slido and Survey Monkey.

4k UHD: We will see more quality content produced in 4K UHD to ensure graphics can stand up to the state-of-the-art vision sources that are being employed in venues. If you are not creating content in 4K UHD then you are not taking advantage of all that is available to project your message.

Touchless Environments: COVID-19 has accelerated the desire for automation and touchless environments from a nice-to-have to a must-have. They minimize the amount that people come into contact with shared surfaces. Following the throes of COVID-19, it appears that touchless building controls are here to stay.

Remote Control And Remote Management: We’re seeing an increase in demand for remote management software that allows one person, or a small group of people, to log into a remote system and review the status of a set of classrooms or meeting spaces. Increasingly in 2022, companies can implement remote monitoring and maintenance for audio visual systems to support the advancement of technology. Whether your organization is expansive or small, remote audio visual support teams can significantly reduce operating costs for your business.

Live Streaming: As more people look to tune into events from home, we’re seeing an increased need for equipment that supports live streaming.

Video Walls: In many commercial spaces, there’s often a need for a large video display. In past years, many spaces have opted for projection screens as opposed to large LCD displays or video walls, solely because the cost was much lower. The price of video walls getting close to similar to a projection screen, and the benefits almost always outweigh the slightly higher cost.

Service And Maintenance: As more commercial spaces look for ways to save, there’s been an increasing demand for AV integrators to handle service and maintenance in order to maximize the lifespan of AV products. Businesses are focussing on reducing the overhead costs associated with maintaining and installing the equipment. Companies having expertise in sectors other than AV cannot have a dedicated team to manage and monitor their AV equipment.

Snake oil: Many audiophiles are infected by the snake oil curse, which causes them to chase endlessly after what is supposedly better sound reproduction. Audio interconnect and speaker cables have become a profitable business built on imaginative marketing and misinformation. This market now extends into power cords, HDMI, and optical cables. Untold sums of money have been wasted on the fanciful claims of cable vendors. There is lots of ridiculous pieces of pseudo-audiophile nonsense out there. Try to avoid this bullshit in 2022. Try to to restore peace of mind, and the enjoyment of music.

Hybrid environment: Although some employees are returning to the office, it is doubtful that society will return to an entirely on-site work environment. Remote workspaces from 2020-21 on will now be ‘Hybrid’ (home and office). AV technologies are playing a crucial role in creating a modern working environment. Hybrid technologies are changing their form, we had just a Skype call before the pandemic and now we have Zoom, Microsoft Team Rooms, Google Meet, etc with more advanced features allowing space for seamless collaboration and communication. Hybrid environments are expected to go beyond that with continuous innovation and development. Remote employees, distant customers, healthcare providers, and educational institutions can utilize unified communication solutions. It is now increasingly important to adopt technologies that make collaboration easier. At one time, frequent video communications, online learning, and compact hardware design were ambitious audio visual innovations that were hard for people to imagine. Today, they’re top priorities for business, educational, and religious spaces of all types, and are critical to how people interact in those spaces.

Silent Video Gains Momentum: It’s estimated that 85% of short videos viewed on Facebook are watched without sound. Yet as much as 41% of video would be incomprehensible to viewers without sound. Video marketers are using captions, context and other “no-audio” tactics to convey information.

Social Media Goes Video-First: video content is one of the internet’s main attractions. Users are being drawn to video-first platforms. One of the most common reasons people use social media is to view video. But with video streaming set to be as much as 82% of total web traffic by 2022, the importance of video content to marketing strategy is massive and still growing.

Digital audio: Digital audio consumption accelerated in 2021 and commercial engagement followed the audiences. In 2022 we foresee three key commercial trends in the digital audio space: Data-led targeting capabilities provide a powerful way to get advertising cut through, Creativity is a constant rather than a ‘trend’ in advertising and Audience Growth is attracting new advertisers. Programmatic audio is divided into three main supply sources – music streaming (through suppliers like Spotify), podcasts (the biggest opportunity for brands), and online broadcast radio (now more attractive with the addition of data overlay opportunities). Amongst these audio heavyweights we can see emerging innovation in the form of conversational and actionable audio ads.

Virtual and Augmented Reality: Although virtual and augmented reality first entered the public consciousness via video games or social media filters, they are now infiltrating every aspect of our lives. Given the rapid evolution of technology, it is inevitable that these advancements will impact the audio visual industry. Companies specializing in the development of VR and AR technologies are noticing an increase in interest from educational institutions wishing to create an enhanced learning experience. Within the healthcare sector, VR solutions are assisting healthcare professionals with socializing medically isolated patients. Virtual reality has been in development within the audio visual industry for many years. In 2022, virtual reality is becoming mainstream. Or at least tries.

Shift from linear TV to streaming: Video streaming goes beyond traditional TV viewing for people under 45. The lion’s share of viewing by those over 45 is still grabbed by linear television.


  1. Tomi Engdahl says:

    AV1 Update Reduces CPU Encoding Times By Up To 34 Percent
    By Aaron Klotz published 1 day ago
    AV1 content creation will become very important, now with RTX 40-series GPUs supporting the new standard.

    According to Phoronix,(opens in new tab) Google has released a new AOM-AV1 update – version 3.5, that drastically improves encode times when streaming, rendering, or recording from the CPU. At its best, the update can improve encoding times by up to 34%.

    It is a fantastic addition to AV1′s capabilities, with the encoder becoming very popular among powerful video platforms such as YouTube. In addition, we are also seeing significant support for AV1 hardware acceleration on modern discrete GPUs now, such as Intel’s Arc Alchemist GPUs and, most importantly – Nvidia’s RTX 40-series GPUs.

    AV1 came on the scene in 2018 as a newer potential alternative to the H.264 video codec. It has become a mainstream item due to its very attractive feature set; for one, it is entirely open-source, allowing anyone to use it for free. It provides up to 50% higher compression ratios than H.264. In addition, it is drastically reducing AV1 video file sizes.

    This year we saw our first AV1 hardware acceleration engine in the Intel Arc A-series GPUs, providing drastic video quality improvements over its competitors, including Nvidia’s legendary NVENC H.264 encoder. But now, Nvidia has finally entered the game with its RTX 40-series GPUs supporting AV1 encoding for the first time – thanks to the brand-new 8th generation NVENC engine.

    It sets up the stage for AV1 to become a complete replacement for H.264, now that we have AV1 encoding present in both discrete GPUs and via software encoding on the CPU, which will make AV1 encoding very accessible to the public.

  2. Tomi Engdahl says:

    Viola Zhou / Rest of World:
    Using translation apps, dubbing software, and VPNs, some Chinese creators are getting millions of views for TikTok videos summarizing Hollywood movies and shows — With machine translation, dubbing apps and VPNs, Chinese creators are shortening movies for Americans.

    TikTok creators are condensing Hollywood movies into minutes and getting millions of views

    With machine translation, dubbing apps, and VPNs, Chinese creators are shortening movies for Americans.

    If you don’t have time to start that movie you’ve always wanted to watch, a new set of TikTok accounts has a solution. “This woman knocked over everything in the house, then drew 800 cc of her own blood,” a robotic voice narrated over a clip from the film Gone Girl. The video, titled “High IQ woman revenge for cheating husband,” summarizes the two-and-a-half-hour film in just seven minutes. A 48-second clip of The Danish Girl summarized the film as “The wife let the husband dress up as a woman, and he is addicted to it.”

    Chinese creators use translation apps, dubbing software, and VPNs — TikTok is blocked in China — to help viewers speed-watch movies and TV dramas in English, Spanish, and Bahasa Indonesia. Despite the translation errors and robotic narrations, each clip garners anywhere between a few thousand to millions of views, generating decent income for the creators. The Danish Girl summary video currently has more than four million views.

    Turning movies into short videos has been popular in the Chinese-speaking world for years, on video platforms like Douyin (TikTok’s Chinese counterpart), Kuaishou, and Bilibili. And now, as the domestic video industry becomes more competitive, creators capitalizing on their popularity are taking these videos to the banned-in-China platform, TikTok.

    “Movies and TV are for everyone from everywhere in the world,”

    Wilson, who declined to give his full name due to privacy concerns, says he makes about $1,400 a month from his 10 TikTok accounts. “We all cry, laugh and complain for the same things.”

    For his TikTok accounts, Wilson downloads movie and TV clips from Chinese platforms like Douyin. He writes his summary script in Chinese, uses the translation service DeepL to turn it into English, then generates a new voiceover with the dubbing app Moyin. Eventually, Wilson assembles everything in Adobe Premiere, making sure to remove a few frames or horizontally flip others to evade TikTok’s plagiarism detection.

    Another TikTok movie editor, Bi, who only gave his last name due to privacy concerns, told Rest of World that he makes up to £300 ($342) per movie clip, using two TikTok movie accounts “based” in the U.K. with a VPN.

    Bi and Wilson also offer paid courses teaching others their craft. Bi said many of his students were stay-at-home mothers who were looking for an easy way to make money in their spare time. Wilson said he has trained more than 100 people, and has recently started making movie clips in German, French, Spanish, and Bahasa Indonesia.

    In China, the popularity of these derivative works has led to prolonged copyright disputes. In 2021, streaming platforms iQiyi, Tencent Video, and Youku protested movie and drama clips on short video apps like Douyin. Tencent later sued Douyin, demanding hundreds of millions of dollars for copyright infringement. In December 2021, the China Netcasting Services Association, which issues censorship directives, ordered short video apps to ban unlicensed film and TV clips.

    But the crackdown did not stop people from posting new clips, sometimes from Thai, Korean and American dramas, reasoning that copyright holders from outside China are less likely to police Chinese social media.

    Larry Zerner, a copyright and entertainment attorney in Los Angeles, told Rest of World that American studios would also likely explore licensing agreements with TikTok if derivative works became more popular. It would not be worth the effort for the companies to pursue compensation from overseas creators, he said. “It’s just like you are playing whack-a-mole.”

    The summary videos have amassed a steadily growing audience, keen to finish whole movies or drama series in just a few minutes. Some express interest in watching the full thing,

  3. Tomi Engdahl says:

    James Vincent / The Verge:
    Meta details its text-to-video AI generator, Make-A-Video, which can produce up to five-second videos without audio; Meta is not giving access to the AI model

    Meta’s new text-to-video AI generator is like DALL-E for video

    AI text-to-image generators have been making headlines in recent months, but researchers are already moving on to the next frontier: AI text-to-video generators.

    A team of machine learning engineers from Facebook’s parent company Meta has unveiled a new system called Make-A-Video. As the name suggests, this AI model allows users to type in a rough description of a scene, and it will generate a short video matching their text. The videos are clearly artificial, with blurred subjects and distorted animation, but still represent a significant development in the field of AI content generation.

    Introducing Make-A-Video: An AI system that generates videos from text

    Today, we’re announcing Make-A-Video, a new AI system that lets people turn text prompts into brief, high-quality video clips. Make-A-Video builds on Meta AI’s recent progress in generative technology research and has the potential to open new opportunities for creators and artists. The system learns what the world looks like from paired text-image data and how the world moves from video footage with no associated text. As part of our continued commitment to open science, we’re sharing details in a research paper and plan to release a demo experience.

    Generative AI research is pushing creative expression forward by giving people tools to quickly and easily create new content. With just a few words or lines of text, Make-A-Video can bring imagination to life and create one-of-a-kind videos full of vivid colors, characters, and landscapes. The system can also create videos from images or take existing videos and create new ones that are similar.

    Make-A-Video follows our announcement earlier this year of Make-A-Scene, a multimodal generative AI method that gives people more control over the AI generated content they create. With Make-A-Scene, we demonstrated how people can create photorealistic illustrations and storybook-quality art using words, lines of text, and freeform sketches.

  4. Tomi Engdahl says:

    Maailman ensimmäinen suuntaava MEMS-mikrofoni

    Jos laitteissa halutaan eristää jostakin tietystä suunnasta tuleva ääni, joudutaan tyytymään monimutkaisiin algoritmeihin, joilla ympäröivä melu eristetään. Tämä tarkoittaa suurempaa, enemmän tehoa kuluttavaa ja monimutkaista laitesuunnittelua. Englantilainen Soundskrit tuo kisaan maailman pienimmän, MEMS-pohjaisen suuntaavan mikrofonin.

    Tehokas mikrofoni eristää kaiuttimen äänen ja eliminoi häiritsevät äänet ja tuottaa erittäin korkealaatuisen äänilähdön useille kuluttajalaitteille. SKR0400-mikrofoni sopii kannettaviin tietokoneisiin, verkkokameroihin, älykaiuttimiin, televisioihin, kuulokkeisiin, AR/VR-laitteisiin, lääketieteellisiin laitteisiin, puettaviin laitteisiin ja moneen muuhun.

    Mikrofoni sieppaa ääntä tarkasti suunnattuna 20 Hz … 20 kHz alueella. Kohinanvaimennuksen teho on 4,8 desibeliä. SKR0400 on kooltaan vain 2,65 x 3,5 x 1,1 millimetriä ja se kuluttaa virtaa vain 135 mikroampeeria.

    Soundskrit uses a radically new transducer design to sense the direction of sound with incredible precision.

    We have spent the last 20 years trying to use non-directional microphones to get directionality. Why not build the directionality into the hardware from the beginning?

    Soundskrit has rebuilt the MEMS microphone from the ground up with directionality in mind, bringing unparalleled performance to the world of audio.

    Directional Microphone

    In order to get direction with traditional omnidirectional microphones, two microphones must be placed in an array and subtracted to approximate direction. When doing so, the effective SNR of the of the microphone array drops significantly. Two 70dB omnidirectional microphones placed 10mm apart loose 17dB of SNR!

    Soundskrit maintains high SNR while providing directionality in just a single microphone. With over 10dB more SNR than than market-leading microphone arrays, the SKR0400 unlocks incredible performance for our customer’s devices.

    The Soundskrit Development Platform is an easy-to-use board that highlights our five standard microphone configurations. The Horizon can mount to the top of your laptop and connects via USB. Our graphical user interface guides you through each configuration and various software features we have implemented.

  5. Tomi Engdahl says:

    Autoradio voittaa edelleen verkon musiikin kuuntelussa

    Musiikinkuuntelu Suomessa on siirtynyt paljolti verkkoon, mutta Teoston uusimman selvityksen mukaan musiikkia kuunnellaan edelleen eniten perinteisesti autoradioiden kautta. Verkossa uusin musiikki leviää suoratoistopalvelu TikTokin lyhytvideoissa.

    Suomalaiset kuuntelevat Teoston selvityksen mukaan keskimäärin musiikkia lähes kaksi tuntia päivässä (1 tunti 45 minuuttia). Koko kansan keskuudessa yleisin musiikinkuunteluväline on autoradio, josta musiikkia ainakin kerran viikossa kuuntelee jopa 77 prosenttia suomalaisista. Suuria ikäluokkaeroja kuvaa se, että 13–18-vuotiaiden suosituin väline musiikinkuunteluun on kännykkä (92 %), kun tutkimuksen vanhimmasta ikäryhmästä puhelinta musiikinkuunteluun käyttää vasta 15 prosenttia.

    ”Radiokanavat verrattuna digitaalisiin musiikkipalveluihin ovat tutkimuksemme mukaan hyvin tasavahvoja musiikin kuuntelun lähteitä. Digitaaliset välineet kiinnostavat nuorempia kuulijoita sekä ovat väline itse valitun musiikin kuunteluun, kun taas radiolla on vahva sijansa etenkin entuudestaan kaikille tutumman musiikin taustakuuntelussa”, johtava tutkija Kari Tervonen Omnicom Media Groupista kertoo.

    Suomalaiset kuuntelevat musiikkia keskimäärin 1 tuntia 45 minuuttia päivässä, josta lähes puolet taustamusiikkina. Samalla keskittyneemmän musiikinkuuntelun osuus kääntyi pitkästä aikaa nousuun suhteessa musiikin taustakuunteluun.

  6. Tomi Engdahl says:

    Yksi kameran asetus määrää, miten aito selfiestä tulee – tämän vuoksi näytät ”väärältä”

  7. Tomi Engdahl says:

    40 years ago today, the world’s first commercial compact disc player was released. The system was launched in Japan on October 1, 1982 at a list price of 168,000 yen (approx US$730).

  8. Tomi Engdahl says:

    Josh Starnes’ Modified TV Boasts 240W of High-Brightness LEDs to Outshine the Sun in Any Weather
    Packed with CRI 90 6000k sunlight-style LED strips drawing 240W, this modified TV is perfectly viewable even in direct sunlight.

  9. Tomi Engdahl says:

    The camera’s lens is 1.57 meters across and can construct 3.2 gigapixel images from its sensor grid.

    The World’s Largest Camera Is Nearly Complete The future heart of the Vera C. Rubin Observatory will soon make its way to Chile

  10. Tomi Engdahl says:

    Vibroacoustic Therapy, or VAT, is essentially a deep tissue low-frequency sound massage using audio waves in the range of 30Hz-120 Hz that are being transmitted to the body by embedded transducers in the bed.

  11. Tomi Engdahl says:

    AR/VR screens could be getting a lot better as ‘microLED’ tech sneaks out of the lab

  12. Tomi Engdahl says:

    This latest innovation from Teenage Engineering is designed to be portable, similar to its Pocket Operator range

  13. Tomi Engdahl says:

    How to Watch Without an App or Account
    To browse TikTok and watch videos without an account or app, the easiest method is to simply visit the TikTok website. Here’s how to use the TikTok website to search for videos and watch them.

  14. Tomi Engdahl says:

    Discussion from

    when digital audio came along, people noticed differences in sound quality between different CD players, transports, DACs? Digital cables? No one knew how to measure it, but differences were heard in what was meant to be “perfect”. Then Paul Miller invented a machine and a method to measure Jitter. So if what you are saying is right, up to the point at which Paul invented his machine, everyone must have been delusional to hear differences? But now it can be measured it’s all OK?

    Good example! We only measure things we know how to measure, so how do you measure the match between a power amp and the speakers, for instance? Transparency? Musicality? A sense of rhythm and pace? Or how do you measure how much your dog or cat loves you? Yet, you can see they do LOL
    We had a few amps (using different preamp and power tubes) that measured almost identically, same square wave reproduction, same or very similar bandwidth, etc, yet sounded noticeably different. Some were smoother, others more transparent and airy, others more “musical” and emotionally engaging … yet the measurements told us next to nothing – just that all were properly designed and had no obvious deficiencies …

    dacs sound differend not due to the jitter, but due to the analog section of the device. Cables have nothing to do in this case. As different cds have different dacs, then the sound will be different. The difference is pretty much gone when the transport is used or the data are streamed from the NAS streaming service.

    You are misrepresenting my statement. What I mean can really be broken down into this;
    1. A difference – between two components in an audio setup – that can be heard when you know whether you are listening to setup A or B, but which you cannot reliably discern during blind testing, simply does not exist – it’s a perceived difference; confirmation bias
    2. PRAT (Pace, Rhythm and Timing) are utterly meaningless terms with respect to describing qualities of an audio reproduction device – these are qualities of the music itself and of the performance by the musicians, but if I remember correctly they were adopted by Linn LP12 diehards who needed some common vocabulary to explain where the Sondek LP12 turntable, which measured terribly, excelled (“Musicality” is right up there with PRAT, BTW)
    3. If two systems/chains for capture, storage and reproduction of audio are physically/electronically perfect, there cannot be audible differences between them – it may be that we today don’t know how to measure eg. subtle sound stage distortion, but it should theoretically be measurable (we just need a Paul Miller to invent the process/device) – otherwise it cannot exist

    the three points you made above do not in any way justify your statement that if we can’t measure it there is no sonic difference!

    Now that makes it a totally different discussion…
    Let’s just say that a “perfect” system doesn’t exist. When ever we play a recording of something, it’s a “copy” and not the original.
    I have been tuning my stereo with different audio parts for about 4 years now. If we go back to my Steinway example: I want my stereo to simply reproduce the sound as close as possible to the original. Any component, which during testing adds to the existing synergy, and gets me closer to the “truth” of a real Steinway, is a keeper. Sometimes the difference is obvious, sometimes it is not. I have rejected many components (including expensive ones) because I felt it did not get me closer to the sound of the original instrument. Everything is game in the signal path and in supporting circuitry, including power supply, AC cables and fuses, speaker crossover, etc…
    I am still trying to get closer to the “truth” after all this time! Perhaps what I am looking for in my stereo just doesn’t exist?
    I am simply comparing the live sound of a single analog instrument and its recording.
    What do you think I should be measuring and where?

    Igor S. Popovich
    Since the EM wave propagates through the insulation, the dielectric constant and other parameters of the audio cables’ insulation are, if not more, at least equally important to their sonic signature as their conductor size, geometry and material!
    A whole chapter of my latest book “Sound Improvement Secrets for Audiophiles” is devoted to audio cables.

    Igor S. Popovich a point I made earlier today about PVC. Which was met with derision!

    Magical mystery cables – Only for hard core audiophile dummies

    I bet the blind sound tests will show the difference!
    Have you ever conduct a blind sound tests with and w/o hi-end cables?

    many times! Only just recently with silver digital coax cables I made myself. Only way to test is blind. I have a friend that helps do this.

    It’s not all in the dielectric, of course, the current as we know it still “flows” through the conductor, but the electromagnetic wave surrounds the space around the conductor and the properties of the medium (vacuum, air, pvc, Teflon, etc) impact its propagation. If Tesla was alive today he would explain it properly, but the last person who truly and intimately understood this stuff died in 1943

  15. Tomi Engdahl says:

    No it is not wrong. Read this article by Dr Hawkford …

  16. Tomi Engdahl says:

    you are right and they are wrong, cables make a difference, just as a polypropylene capacitor sounds different in an amplifier from a polyester one, the insulation (dielectric) in a cable makes a significant difference to its sonic signature! read this:

  17. Tomi Engdahl says:


    imo, no topic or discussion should be banned, that’s how we learn and get ideas … curtesy and open mind, which are often lacking, are the source of the problem. Why wouldn’t solid state and tube amps sound different? Why wouldn’t different cables sound different? Different materials transport signals in different ways and different devices work on different physical principles, for instance why intetrstage transformers sound better than coupling capacitors, despite their inferior measured performance? There are dozens and dozens of such questions, and while there is rubbish propagated by some manufacturers, most of these questions and phenomena are genuine and can be heard (although usually cannot be measured) …

  18. Tomi Engdahl says:

    Kumpi on pelaajan näyttöväylä – HDMI vai DisplayPort?

    Pelaaja haluaa mahdollisimman paljon ja mahdollisimman nopeasti päivittyviä pikseleitä ruudulleen. Mutta millä väylällä data kannattaa siirtää näytölle? Mikä on pelaajan näyttöväylä? Lyhyt vastaus on, että molemmat tekniikat ovat uusimmissa versioissaan – HDMI 2.1 ja D 2.0 – suorituskyvyltään riittäviä. Tämä ei tietenkään riitä, vaan todellisella harrastajalla pitää olla käytössään parasta mahdollista.

    HDMI 2.1 paransi linkin nopeutta, sillä kellosignaali siirtyy datasignaalin sisällä. Näin kaikki neljä linjaa siirtävät dataa. Maksiminopeus on 42 gigabittiä sekunnissa ja todellinen datanopeus 42,6 gigabittiä sekunnissa. Se riittää päivittämään 4K-ruutua 144 kertaa sekunnissa. Pelaajille resoluutio ei ole yhtä tärkeä kuin pelin päivitysnopeus, joten 4K ei ole peleissä vielä yleistynyt.

    DisplayPortin uusin versio eli 2.0 yltää peräti 80 gigabittiin sekunnissa. Todellinen datanopeus on yi 77 gigabittiä sekunnissa, minkä ansiosta 4K-ruutukin päivittyy 270 kertaa sekunnissa. Todellisen datanopeuden suhteellinen kasvu uusimmassa DP-standardissa selittyy 128b/130b-koodauksella, jonka ansiosta valtaosa kaistasta on täysin databittien käytössä.

    Lukujen perusteella valinta olisi selvä: DisplayPort on selvästi nopeampi väylä. Tällä hetkellä uutta DisplayPort 2.0:aa ei kuitenkaan tue markkinoilla oikein mikään, eivät näytöt eivätkä grafiikkaprosessorit. Suurin osa DP-laitteista tukee versiota 1.4 tai 1.3 ja ne jäävät slevästi HDMI 2.1:n taakse.

    Toisaalta kisa on edelleen auki. Kumpikaan väylä ei pysty välittämään 10-bittistä videokuvaa 8K-ruudulle niin, että kuva päivittyisi 120 kertaa sekunnissa.

  19. Tomi Engdahl says:

    DisplayPort sovitettiin paremmin USB4-liitäntään

    Videostandardeja kehittävä VESA on esitellyt uuden version DisplayPort-liitäntästandardista. DP 2.1 ei nosta liitännän datanopeutta, mutta tekee siitä paremmin yhteensopivan tulevia USB4-liitäntöjä varten.

    VESA on työskennellyt tiiviisti jäsenyritysten kanssa varmistaakseen, että myös aiempaa DisplayPort 2.0 -standardia tukevat tuotteet vastaisivat uudempaa, vaativampaa DisplayPort 2.1 -spesifikaatiota. Tämän ponnistelun ansiosta kaikki aiemmin sertifioidut DisplayPort 2.0 -tuotteet, mukaan lukien UHBR-yhteensopivat (Ultra-High Bit Rate) tuotteet – olipa kyseessä sitten GPU:t, telakointiasemasirut, PHY-toistinpiirit, kuten uudelleenajastimet, tai DP40/DP80-kaapelit – on jo sertifioitu tiukempien DisplayPort 2.1 -spesifikaatioiden mukaisesti.

    Mitä uusi 2.1-standardi sitten tuo lisää? VESA on tiukentanut linjausta C-tyypin USB-liittimen ja USB4:n PHY -määrityksen kanssa. Tavoitteena on ennen kaikkea varmistaa se, että videosignaali toimii moitteetta myös ALT-moodissa USB4-linkin yli tunneloitaessa ja USBC-liittimen läpi vietäessä.

    Tämä on vaatinut parannuksia signaalinkäsittelyyn. Esimerkiksi DSC-bittivirtatuki (Display Stream Compression) takaa visuaalisesti häviöttömän signaalin yli 67 prosenttia pienemmällä kaistanleveydellä. Panel Replay -ominaisuus voi puolestaan vähentää DisplayPort-tunnelointipakettien siirtokaistanleveyttä yli 99 prosenttia.

    DisplayPort on ollut alakynnessä HDMI-videoliitännän kanssa, vaikka teknisesti onkin hieman edistyneempi. Esimerkiksi DP 2.0-standardia tukevia laitteita on markkinoille edelleen vain marginaalisesti.

  20. Tomi Engdahl says:

    Ben Schoon / 9to5Google:
    YouTube announces YouTube Premium’s first major price hike, increasing the family plan from $17.99/month to $22.99/month, or $29.99/month in the App Store — YouTube Premium is getting its first major price hike as the service will now charge $22.99 per month for its family plan.

    YouTube Premium is getting a price hike for family plans to $22.99/month

    YouTube Premium is getting its first major price hike. The service will now charge $22.99 per month for its family plan.

    Announced today in an email to subscribers, the monthly cost of YouTube Premium will jump from $17.99 per month to $22.99 per month for those using the family plan that allows for up to six accounts to use the same subscription. It’s an increase of over 25%. The price is jumping to $29.99/month if you subscribe through the Apple App Store.

  21. Tomi Engdahl says:

    This Wearable Electret Microphone “Listens” to Your Neck Skin for Clear Speech in Noisy Environments
    Designed to work in noisy environments, even when the user is wearing a full respirator, this wearable mic could aid health workers.

  22. Tomi Engdahl says:

    Michael Mignano / Lightspeed Venture Partners:
    Whereas Creator Economy companies have mostly built infrastructure for the top 1% of creators, new AI tools will fuel businesses that democratize creativityF

    The Creativity Supply Chain

    Creativity has become the focal point of our modern Internet economy. What was once just a means of artistic expression now powers much of how we all interact, work, and play online.

  23. Tomi Engdahl says:

    Lucas Shaw / Bloomberg:
    Consolidation between TV and videogame companies seems inevitable, as pay-TV rapidly deteriorates and streaming services struggle to make up for it

    The Next Mega Media Merger Will Be…

    Taylor Swift’s record-breaking debut. Netflix’s recovery. And a look at two kinds of likely media deals.

    Four things you need to know

    Taylor Swift broke all kinds of records with her new album (and crashed Spotify for some in the process).
    HBO and Amazon aren’t just competing for the biggest TV show in the world. They are competing with podcasts about those shows.
    The members of BTS will serve in the military and won’t be able to reunite until 2025 (at the earliest).
    Bloomberg is hosting a film festival for documentaries about climate change in Los Angeles this week. You should come check it out.

    The next mega media merger, Netflix snubs theaters, YouTube Music’s rise

    After a couple weeks of meetings in Los Angeles with writers, producers and development executives, a friend told me the word of the moment is undeniable.

    That’s because people are scared. Investors fear we are on the brink of a global recession, or already living through one. Media companies are struggling to convince Wall Street that streaming can make up for the decline of pay-TV. Streaming services and TV networks are struggling to get their new projects to stand out. Movie theaters are struggling to get anyone to buy a ticket.

    Producers and agents need an undeniable package. A movie star. A best-selling book. A social media celebrity.

    Given this anxiety, I thought it might be a decent time to answer some questions from readers and friends, starting with…

    Can you speak to any future consolidations or acquisitions you see on the horizon? So many occurring right now!
    It’s 2025… which streamers/studios have been bought, and by who?…

    Two kinds of consolidation seem inevitable.

    Existing media and entertainment companies will merge with one another. Several companies are bracing for the rapid deterioration of the pay-TV business. TV networks are losing close to 10% of their customer base every year at the same time that advertising sales have peaked. Many media giants are trying to offset this scenario by building streaming services.

    But the streaming business, at least right now, isn’t as lucrative as pay-TV. Too many streaming services are spending billions of dollars to compete for a finite amount of attention. That’s why most experts believe Lions Gate, Paramount, NBCUniversal, Warner Bros. Discovery and AMC Networks will merge or disappear in the next few years. Netflix, Disney, Apple and Amazon could be buyers, or they could look into the second type of deal.

    A gaming company will buy a TV company or a TV company will buy a gaming company. Every big tech and media company is trying to sell bundled services. Apple sells one. Amazon sells one. Disney is trying to sell one. Microsoft kind of sells one. Music and video streaming serve as major components of these bundles. But, other than Microsoft, no one has really cracked the gaming component.

    Entertainment companies, meanwhile, are already experimenting with interactive storytelling and commissioning TV series and movies based on video games.

    It seems inevitable that these two worlds will get closer together. If Netflix or Disney can offer popular games as part of their service bundle, they can raise prices and reduce churn. The same goes for Amazon and Apple, which have thus far struggled in gaming. A gaming company could buy a TV company to leverage their IP and offer their programming within their gaming universe.

    As music streaming revenue plateaus, what are the next top three revenue streams for labels, publishers, and artists that will grow? And will anything ever surpass streaming revenue?

    The most important new revenue stream of the last few years has been social media. Music companies collectively now earn billions of dollars a year from YouTube, Facebook, Snapchat, TikTok and Twitch.

    After that, take your pick. Vinyl sales have more than doubled over the last five years in the US. Revenue from synchronization – licensing to advertisements and movies – has continued to grow. Fitness was an exciting new category, at least until Peloton cratered.

    None of these will surpass streaming, which is responsible for the vast majority of the industry’s revenue and growth. The music industry wants more money from TikTok, but that isn’t going to compare to the money from actual music consumption.

    Something could surpass streaming revenue in the next decade. But we don’t know what it is it. Streaming accounted for less than $1 billion in the US a decade ago. It was less than half the size of the download business.

    Will YouTube Music ever gain stream like Apple Music or Spotify?

    It already has. YouTube Music has been one of the fastest-growing music services in the world over the last few years. It is thriving in Southeast Asia and Latin America, where Apple and Amazon are not strong. It is the second-biggest service in South Korea after a local player called Melon. It has a much better business in Asia than Spotify, which doesn’t have the same huge free user base to use as a funnel in the region.

    Will Netflix ever embrace theatrical? Or will they just ignore it?
    When will Hollywood decide firmly on the true answer to the streaming vs theatrical debate?

    Say it with me: Ted Sarandos is not interested in giving movies a traditional theatrical release. We’ve reported this again (and again). Sarandos made this abundantly clear this past week.

    “We’re in the business of entertaining our members with Netflix movies on Netflix.”

    Movie theater owners squawked, anonymously. They had just done a deal with Netflix for the sequel to Knives Out, which some interpreted as a sign the streaming service was leaning into theaters. But they can’t actually be surprised, right? Netflix agreed to put its sequel to Knives Out in theaters for one week. That is not a traditional release! Theater owners did a deal because they need product and they assume fans will show up for that movie, even if it’s just one weekend.

    There may come a time at which Netflix reconsiders its aversion to movie theaters as it has with advertising. Netflix’s film team already wants to embrace theaters. But Sarandos isn’t there yet.

    Okay let’s speed things up…
    Will Netflix’s crackdown on password sharing be successful?

    If I knew the answer to that, I would retire and buy a bunch of stock in the company. (Kidding.)
    As Gen X and Millennial gamers age into their 50s and a large portion of them still play video games, will there eventually be a market for video games catered to seniors?

    Of course.

  24. Tomi Engdahl says:

    Ray Tracing: How NVIDIA Solved the Impossible!

  25. Tomi Engdahl says:

    What’s the Difference Between HDMI and DisplayPort?
    Oct. 21, 2022
    The latest HDMI and DisplayPort technologies usher in support for higher resolutions, frame rates and data throughput for the latest TVs and monitors.|7211D2691390C9R&oly_enc_id=7211D2691390C9R

  26. Tomi Engdahl says:

    MEMS-mikrofoni valtasi kännykät

    Uudessa puhelimessasi on hyvin suurella todennäköisyydellä puolijohdepohjainen mikrofoni. Todennäköisesti niitä on useita. MEMS-pohjaiset mikrofonit ovat vallanneet älypuhelimet nopeasti, mikä perustuu ylivertaisiin teknisiin ominaisuuksiin ja siihen, että volyymien kasvaessa hinnat ovat tulleet kilpailukykyisiksi.

    Tutkimuslaitos Yole Developpement arvioi, että MEMS-mikrofonien markkina kasvaa 2,3 miljardiin dollariin vuonna 2027. Älypuhelimien lisäksi isoksi moottoriksi on nousemassa nappikuulokkeet, joissa MEMS-tekniikan edut nousevat jopa vielä paremmin esiin.

    Yolen mukaan esimerkiksi Samsungin uusissa älypuhelimissa on kolme MEMS-mikrofonia ja Applen iPhonessa neljä. MEMS-mikrofonin voi valmistaa monella tapaa, mutta yleisin on edelleen kapasitanssiin perustuva. Perinteisen kalvon korvaa piipohjainen kalvo tai vipu tai kieleke, joka liikkuu ääniaaltojen voimasta.

    Ja se hinta? CUI:n uutuudet maksavat volyymeissä 83 senttiä kappale.

  27. Tomi Engdahl says:

    Maailman nopein pelinäyttö virkistyy 360 kertaa sekunnissa

    Asusin pelibrändi ROG eli Republic of Gamers on julkistanut maailman nopeimman pelinäytön. 27-tuumainen Swift 360Hz PG27AQN tulee Pohjoismaissa myyntiin ja Suomessa ruutu maksaa 1299 euroa.

    Markkinoiden nopeimman vasteajan takana on Asusin kehittämä Ultrafast IPS -tekniikka. Sen ansiosta näyttö tukee uusimpia NVIDIA GeForce RTX 40 -sarjan näytönohjaimia. Grafiikkaprosessori voi syöttää näytölle uusimpia pelejä 2560 x 1440 pikselin resoluutiolla. 360 kuvaa sekunnissa.

  28. Tomi Engdahl says:

    The software does its own mix minus on Zoom and Teams, so it’s almost plug and play. Not like the olden days with Skype, where we had to set up a Mix Minus through the console

  29. Tomi Engdahl says:

    I faked JENNIFER LAWRENCE to educate you – Stable Diffusion Inpaint Tutorial

    Stabe Diffusion In-Painting Guide
    Here is how Inpaiting works in Stable Diffusion. It’s a lot easier than you think. And it can create Deepfakes like you wouldn’t believe. Here is a guide. But also a moral warning! Educate your friends and loved ones. In the Age of AI, no image can be trusted unless you know the source.

  30. Tomi Engdahl says:

    All Your Pixels Are (Probably Not) Belong To Pantone

    There’s a piece of news floating around the open IP and allied communities at the moment which appears to have caused some consternation. It comes from Adobe, who have announced that due to an end of their licensing deal with Pantone LLC, PSD images loaded into Photoshop will have pixels containing unlicensed Pantone colours replaced with black. What, Pantone own colours now, are we expected to pay a royalty every time we take a picture of a blue sky? It’s natural to react with suspicion when hearing a piece of news like this, but for once we think this might not be the unreasonable intellectual property land grab it may first appear. To illustrate this, it’s necessary to explain what Pantone does, and what they don’t do.

    For a company that bases its whole product line on colours, it might seem odd to say that Pantone do not own or sell colours. Instead their product is in effect a colour matching service, a library of defined and named colours which can be matched by designers, printers, ink manufacturers, paint companies, and anyone else who produces a coloured product. The bit they own is the name and index number for a colour in their library, not the colour itself. If a designer creates a logo for a customer and specifies a Pantone colour for it, the customer knows that they can order the paint for their trucks in that exact colour from a Pantone-licensed paint company, or have their packaging printed in the exact same colour by a printer using Pantone-licensed ink. Consistency in branding is important for companies, and it’s the consistency that Pantone sell, not the colours themselves. The customer is free to match colours themselves from any ink or paint, but as they will soon discover, exact colour matching is not an easy task. Pantone’s business lies in taking away that headache.

    It would thus be extremely difficult for Pantone to argue that an image which happens to contain a load of pixels that match a colour in their library are infringing on their IP, so your pictures are safe from their grasp. The reason some Photoshop PSDs are now facing the problem is that Photoshop allows a designer to attach a Pantone index to a colour, and for files which have this applied what Adobe are saying is they no longer have the licence to act on that. There is a whole Pandora’s Box in asking why in 2022 a proprietary image processing package on a flawed monthly subscription model still has such a hold on designer

  31. Tomi Engdahl says:

    AES 2022- what’s new at SSL, Neumann, Allen & Heath, DiGiCo

    AES New York is back! Join us and see the latest releases in audio. We will check out the new audio equipment from SSL, Allen & Heath, DiGiCo, Terry Audio, Sony, Distro Pro Audio, Eventide, and Neumann. We also met with Chris Lord-Alge and asked him to tell us about the new ORIGIN 16.

    0:00 – Welcome to AES New York
    0:18 – Solid State Logic @SSLvideos
    2:01 – Chris Lord-Alge at SSL
    3:00 – @Terry Audio
    4:47 – @DiGiCo Consoles
    6:35 – @Sony Electronics
    7:22 – Distro Pro Audio
    9:24 – @Eventide Audio
    11:33 – @AllenandHeathUK
    13:55 – Neumann
    15:30 – See you next time

  32. Tomi Engdahl says:

    IBC 2022- Best New AUDIO GEAR for Video

    0:00 – IBC 2022 audio intro
    0:23 – @Sennheiser consumer products for phone
    4:12 – @Q5Xinc sports player mic
    6:44 – @Deity Microphones hybrid video mic
    8:20 – @TASCAM Official

    IBC 2022 – Best new VIDEO LIGHTS

    0:00 – IBC 2022 blinds by the lights
    0:27 – @Aputure MC Pro
    4:04 – @Nanlite Nanlux Evoke 1200B
    5:38 – @aptolux LED lights
    6:50 – @ARRIChannel Orbiter complete set
    8:25 – @SmallRig
    10:12 – @GODOX Global
    11:32 – @Manfrotto Imagine More Avenger’s new stand

  33. Tomi Engdahl says:

    STOP USING 44.1k!! – Let Me Explain…

    Viewer comment:

    Slightly disapointed in this video compared to the rest of your videos. Whilst I agree with your conclusions, you don’t touch on a lot of the reasons why CD was at 44.1kHk and DVD was at 48kHz. Or why 24bit is better than 16bit.

    Sampling rates always have to be double the maximum frequency you want to capture (Shannon-Nyquist). So 44.1kHz sampling rate produces an audible frequency of up to 22.05kHz, the reason this is above the max human hearing range was to allow for filters. Instead of having a hard cut of filter to stop any frequencies entering the ADC at exactly 20kHz, a filter with a sloped cut of is used as the filter would be easier to implement and therefore cause less artifacts in the sound. Ultimatley, It was, as you rightly say, to be efficent in saving space/data. However, 48kHz is popular on DVD/films/TV because it is easier to sync to a variety of frame rates. Not because they want 24kHz of audible sounds vs 22.05kHz. Human ears can’t hear that high, and even if we could the difference between the notes they would produce is small (e.g. the difference between 200hz tone vs a 500hz tone is much greater than 14.2kHz vs 14.5kHz) our ears have better resolution at lower frequencies. 48kHz is purley for ease of maths vs 44.1kHz in implementation and filters.

    16 bit vs 24 bit determines the noise floor/dynamic range available. The human ear in ideal conditions has a noise range of 120-130ish dB. However, we all have to deal with background noise and the equal loudness curves show that its only at certain frequencies our ear can hear down to near 0dB. When CD was introduced it was taking over from tape. 96dB (16bit audio) was seen as more than enough of a Sigal to noise ratio compared to tape (as in Cassette tape even with Dolby-NR, not studio/reel to reel etc). However, 24bit (which provieds 144dB of noise floor/dynamic range) more closley resembles the human ear. So again, it was a compromise to, as you said, save space. Also in a recording environment, having that headroom is incredibly usefull – especially when recording classical music.

    So – I completly agree with your conclusion, just not the way you came to it!

  34. Tomi Engdahl says:

    Pirating Music With Resin – How will it sound?

  35. Tomi Engdahl says:

    HDMI vs DisplayPort vs DVI vs VGA vs USB-C: Every connection explained plus how to get 144Hz

    We explain the difference between every display connection available and help you decide which is best for you

    Most monitors will have a range of different inputs available, and your PC or laptop will also use different outputs, so it can be difficult to decide which is the best connection to use.

    Here’s a quick summary of the connection types:

    HDMI: Audio and video signal, best for TV to PC connections
    DVI: Video only, perfect for older systems or for 144Hz at 1080p
    DisplayPort (DP): The best connector for an audio and video signal, and can transmit 144Hz up to 4K
    VGA: Old, legacy video connector. Only to be used when nothing else available
    USB Type-C: Newest audio, video, data and power connector. The best connection for laptops and mobile devices

  36. Tomi Engdahl says:

    Video Cable Types Explained: Differences Between VGA, DVI, and HDMI Ports
    By James Frew
    Published May 26, 2020

    All those video cables can get confusing. What is a VGA port? What is DVI? Learn the difference between video cable types.

    As technology has progressed, so, too, have the cables we need for our devices. Even though many manufacturers are moving to wireless solutions, you’ll likely always need some form of cable.

    This is especially true for video devices. Televisions, monitors, and peripherals need a wide variety of cables and connections to work correctly. So, what are the differences between them all, and which ones do you need?


Leave a Comment

Your email address will not be published. Required fields are marked *