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Bibliografie tematiche / Recording digital audio

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Letteratura scientifica selezionata sul tema "Recording digital audio"

Autore: Grafiati

Pubblicato: 10 dicembre 2022

Ultima modifica: 29 gennaio 2023

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Articoli di riviste sul tema "Recording digital audio"

1

Nishio, Ayataka. "Digital audio recording apparatus". Journal of the Acoustical Society of America 102, n. 1 (luglio 1997): 18. http://dx.doi.org/10.1121/1.419789.

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2

Ingram, Kelly, Ferenc Bunta e David Ingram. "Digital Data Collection and Analysis". Language, Speech, and Hearing Services in Schools 35, n. 2 (aprile 2004): 112–21. http://dx.doi.org/10.1044/0161-1461(2004/013).

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Technology for digital speech recording and speech analysis is now readily available for all clinicians who use a computer. This article discusses some advantages of moving from analog to digital recordings and outlines basic recording procedures. The purpose of this article is to familiarize speech-language pathologists with computerized audio files and the benefits of working with those sound files as opposed to using analog recordings. This article addresses transcription issues and offers practical examples of various functions, such as playback, editing sound files, using waveform displays, and extracting utterances. An appendix is provided that describes step-by-step how digital recording can be done. It also provides some editing examples and a list of useful computer programs for audio editing and speech analyses. In addition, this article includes suggestions for clinical uses in both the assessment and the treatment of various speech and language disorders.

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3

Kurniawan, Fajri, Mohd Shafry Mohd. Rahim, Mohammed S. Khalil e Muhammad Khurram Khan. "Statistical Based Audio Forensic on Identical Microphones". International Journal of Electrical and Computer Engineering (IJECE) 6, n. 5 (1 ottobre 2016): 2211. http://dx.doi.org/10.11591/ijece.v6i5.12022.

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<p>Microphone forensics has become a challenging field due to the proliferation of recording devices and explosion in video/audio recording. Video or audio recording helps a criminal investigator to analyze the scene and to collect evidences. In this regards, a robust method is required to assure the originality of some recordings. In this paper, we focus on digital audio forensics and study how to identify the microphone model. Defining microphone model will allow the investigators to conclude integrity of some recordings. We perform statistical analysis on the recording that is collected from two microphones of the same model. Experimental results and analysis indicate that the signal of sound recording of identical microphone is not exactly same and the difference is up to 1% - 3%.</p>

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Kurniawan, Fajri, Mohd Shafry Mohd. Rahim, Mohammed S. Khalil e Muhammad Khurram Khan. "Statistical Based Audio Forensic on Identical Microphones". International Journal of Electrical and Computer Engineering (IJECE) 6, n. 5 (1 ottobre 2016): 2211. http://dx.doi.org/10.11591/ijece.v6i5.pp2211-2218.

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<p>Microphone forensics has become a challenging field due to the proliferation of recording devices and explosion in video/audio recording. Video or audio recording helps a criminal investigator to analyze the scene and to collect evidences. In this regards, a robust method is required to assure the originality of some recordings. In this paper, we focus on digital audio forensics and study how to identify the microphone model. Defining microphone model will allow the investigators to conclude integrity of some recordings. We perform statistical analysis on the recording that is collected from two microphones of the same model. Experimental results and analysis indicate that the signal of sound recording of identical microphone is not exactly same and the difference is up to 1% - 3%.</p>

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5

Burdina, E. V. "Digital Audio Recording System: Issues of Ensuring Digital Audio Recording of Proceedings in Courts of General Jurisdiction". RUSSIAN JUSTICE 12 (novembre 2017): 35–46. http://dx.doi.org/10.17238/issn2072-909x.2017.12.35-46.

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6

Saito, Etsuro. "Digital audio signal recording device for motion picture film and audio signal recording system for motion picture film employing the digital audio signal recording device". Journal of the Acoustical Society of America 100, n. 1 (1996): 24. http://dx.doi.org/10.1121/1.415936.

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7

Chatterjee (Mukherjee), Dr Samarpita. "Music and Audio Recording Technology: An Overview". Journal of Humanities,Music and Dance, n. 24 (28 luglio 2022): 14–24. http://dx.doi.org/10.55529/jhmd.24.14.24.

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Abstract (sommario):

The coalescence of music and technology form the base of audio production. This study offers a brief account of technological transformations that have shaped the modern audio industry. It takes into consideration the changes in audio recording equipment and audio distribution formats throughout the years up to contemporary time. The study attempts to emphasize the necessary prerequisites for quality audio recording and production in the digital age of today. The study draws its arguments from various secondary sources. This study adds an extra dimension to the already existing knowledge of audio production by blending conceptual and essential practical aspects of audio production. The simplified contour of audio production presented by this study will allow novice musicians and producers to grasp the basics of digital audio recording technology before venturing into the vast ocean of audio technology.

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Chatterjee (Mukherjee), Dr Samarpita. "Music and Audio Recording Technology: An Overview". Journal of Humanities,Music and Dance, n. 24 (17 ottobre 2022): 14–24. http://dx.doi.org/10.55529/jhmd24.14.24.

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Abstract (sommario):

The coalescence of music and technology form the base of audio production. This study offers a brief account of technological transformations that have shaped the modern audio industry. It takes into consideration the changes in audio recording equipment and audio distribution formats throughout the years up to contemporary time. The study attempts to emphasize the necessary prerequisites for quality audio recording and production in the digital age of today. The study draws its arguments from various secondary sources. This study adds an extra dimension to the already existing knowledge of audio production by blending conceptual and essential practical aspects of audio production. The simplified contour of audio production presented by this study will allow novice musicians and producers to grasp the basics of digital audio recording technology before venturing into the vast ocean of audio technology.

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Wijayani, Tara Arsih. "USING DIGITAL AUDIO RECORDING IN LEARNING SPEAKING". Journal of English and Education 4, n. 2 (7 ottobre 2016): 35–71. http://dx.doi.org/10.20885/jee.vol4.iss2.art4.

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10

VanLue, Michael, Kenneth M. Cox, James M. Wade, Kevin Tapp, Raymond Linville, Charlie Cosmato e Tom Smith. "Development of a Microportable Imaging System for Otoscopy and Nasoendoscopy Evaluations". Cleft Palate-Craniofacial Journal 44, n. 2 (marzo 2007): 121–25. http://dx.doi.org/10.1597/05-063.1.

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Objective: Imaging systems for patients with cleft palate typically are not portable, but are essential to obtain an audiovisual record of nasoendoscopy and otoscopy procedures. Practitioners who evaluate patients in rural, remote, or otherwise medically underserved areas are expected to obtain audiovisual recordings of these procedures as part of standard clinical practice. Therefore, patients must travel substantial distances to medical facilities that have standard recording equipment. This project describes the specific components, strengths and weaknesses of an MPEG-4 digital recording system for otoscopy/nasoendoscopy evaluation of patients with cleft palate that is both portable and compatible with store-and-forward telemedicine applications. Materials: Three digital recording configurations (TabletPC, handheld digital video recorder, and an 8-mm digital camcorder) were used to record the audio/ video signal from an analog video scope system. Results: The handheld digital video recorder was most effective at capturing audio/video and displaying procedures in real time. The system described was particularly easy to use, because it required no postrecording file capture or compression for later review, transfer, and/or archiving. Conclusions: The handheld digital recording system was assembled from commercially available components. The portability and the telemedicine compatibility of the handheld digital video recorder offers a viable solution for the documentation of nasoendosocopy and otoscopy procedures in remote, rural, or other locations where reduced medical access precludes the use of larger component audio/video systems.

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Tesi sul tema "Recording digital audio"

1

Hans, Mathieu Claude. "Optimization of digital audio for Internet transmission". Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/14894.

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2

LeRoi, Jack. "A forensic investigation of the electrical properties of digital audio recording". Thesis, University of Colorado at Denver, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1556863.

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Abstract (sommario):

In media forensics, the devices; e.g. computers, smart phones, still/video cameras, audio recorders, and software; e.g. video, audio, and graphics editors, file and disk utilities, mathematical computation applications, are, for the most part, black boxes. The design specifications are usually proprietary and the operating specifications may be incomplete, inaccurate, or unavailable. This makes it difficult to validate the technology, but using it without validation could discredit a practitioner's findings or testimony. The alternative is to test the device or program to determine relevant characteristics of its performance.

An important and common device in media forensics is the portable digital audio recorder used to record surveillance and interviews. This type can also be used to record the alternating current (AC) waveform from the mains power. While small variations in the AC frequency (ENF) can be forensically important, distortion in the recording can affect its value in adjudication or investigation. A method is presented to evaluate aspects of a recorder's operation that can cause distortion. Specifically, the method measures the noise generated by the recorder's electronics in its input and amplifier circuits. The method includes a procedure to isolate the recorder from environmental sources of noise. The method analyzes the broadband noise floor produced by the range of recording conditions and recorder settings. It also analyzes the noise amplitude for the harmonics for the mains frequency.

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3

Hatch, Wesley. "High-level audio morphing strategies". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83108.

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This thesis presents high-level strategies for controlling existing audio morphing algorithms. Prominent methods for spectrally representing audio data in the context of audio morphing are surveyed, and techniques involving manipulating and interpolating additive models are explored. Additionally, a combination of past audio-morphing approaches (sinusoidal morphing techniques as well as techniques taken from an MFCC approach) are employed in order to facilitate any type of sonic input. The system presented herein is meant to accommodate a wide range of inputs, and will adjust the impact of a high-level feature depending on the type and quality of the input.*
*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation).

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4

Linton, Ken N. "Digital mixing consoles : parallel architectures and taskforce scheduling strategies". Thesis, Durham University, 1995. http://etheses.dur.ac.uk/5371/.

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This thesis is concerned specifically with the implementation of large-scale professional DMCs. The design of such multi-DSP audio products is extremely challenging: one cannot simply lash together n DSPs and obtain /7-times the performance of a sole device. M-P models developed here show that topology and IPC mechanisms have critical design implications. Alternative processor technologies are investigated with respect to the requirements of DMC architectures. An extensive analysis of M-P topologies is undertaken using the metrics provided by the TPG tool. Novel methods supporting DSP message-passing connectivity lead to the development of a hybrid audio M-P (HYMIPS) employing these techniques. A DMC model demonstrates the impact of task allocation on ASP M-P architectures. Five application-specific heuristics and four static-labelling schemes are developed for scheduling console taskforces on M-Ps. An integrated research framework and DCS engine enable scheduling strategies to be analysed with regard to the DMC problem domain. Three scheduling algorithms — CPM, DYN and AST — and three IPC mechanisms — FWE, NSL and NML — are investigated. Dynamic-labelling strategies and mix-bus granularity issues are further studied in detail. To summarise, this thesis elucidates those topologies, construction techniques and scheduling algorithms appropriate to professional DMC systems.

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Hlaváček, Ondřej. "Business models of digital audio distribution". Master's thesis, Vysoká škola ekonomická v Praze, 2008. http://www.nusl.cz/ntk/nusl-7907.

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This thesis considers current status of recording industry divided into two parts -- music and audiobooks, either in the whole world and Czech Republic. Used technologies, payment systems and business models are examined alongside with fresh information from recording industry. The models part describes an ideal business model, which incorporates current trends and creates a vision of the business in the future. Applied part adjusts this model according to real world factors into a model usable in the Czech Republic. A final SWOT analysis describes all strengths, weaknesses, opportunities and threats of the given model.

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Markle, Blake L. "A comparative study of time-stretching algorithms for audio signals /". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31119.

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Algorithms exist which will perform independent transformations on frequency or duration of a digital audio signal. These processes have different results different types of audio signals. A comparative study of granular and phase vocoder algorithms, implementation, and their respective effects on audio signals was made to determine which algorithm is best suited to a particular type of audio signal.

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7

Fan, Yun-Hui. "A stereo audio coder with a nearly constant signal-to-noise ratio". Diss., Georgia Institute of Technology, 2001. http://hdl.handle.net/1853/14788.

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8

Zarate, Orozco Ismael. "Software and Hardware-In-The-Loop Modeling of an Audio Watermarking Algorithm". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33221/.

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Due to the accelerated growth in digital music distribution, it becomes easy to modify, intercept, and distribute material illegally. To overcome the urgent need for copyright protection against piracy, several audio watermarking schemes have been proposed and implemented. These digital audio watermarking schemes have the purpose of embedding inaudible information within the host file to cover copyright and authentication issues. This thesis proposes an audio watermarking model using MATLAB® and Simulink® software for 1K and 2K fast Fourier transform (FFT) lengths. The watermark insertion process is performed in the frequency domain to guarantee the imperceptibility of the watermark to the human auditory system. Additionally, the proposed audio watermarking model was implemented in a Cyclone® II FPGA device from Altera® using the Altera® DSP Builder tool and MATLAB/Simulink® software. To evaluate the performance of the proposed audio watermarking scheme, effectiveness and fidelity performance tests were conducted for the proposed software and hardware-in-the-loop based audio watermarking model.

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9

Okai-Tettey, Harold A. "High speed end-to-end connection management in a bridged IEEE 1394 network of professional audio devices". Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006638.

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A number of companies have developed a variety of network approaches to the transfer of audio and MIDI data. By doing this, they have addressed the configuration complications that were present when using direct patching for analogue audio, digital audio, word clock, and control connections. Along with their approaches, controlling software, usually running on a PC, is used to set up and manage audio routings from the outputs to the inputs of devices. However one of the advantages of direct patching is the conceptual simplicity it provides for a user in connecting plugs of devices, the ability to connect from the host plug of one device to the host plug of another. The connection management or routing applications of the current audio networks do not allow for such a capability, and instead employ what is referred to as a two-step approach to connection management. This two-step approach requires that devices be first configured at the transport layer of the network for input and output routings, after which the transmit and receive plugs of devices are manually configured to transmit or receive data. From a user’s point of view, it is desirable for the connection management or audio routing applications of the current audio networks to be able to establish routings directly between the host plugs of devices, and not the audio channels exposed by a network’s transport, as is currently the case. The main goal of this work has been to retain the conceptual simplicity of point-to-point connection management within digital audio networks, while gaining all the benefits that digital audio networking can offer.

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10

Laubscher, Robert Alan. "An investigation into the use of IEEE 1394 for audio and control data distribution in music studio environments". Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1006483.

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This thesis investigates the feasibility of using a new digital interconnection technology, the IEEE-1394 High Performance Serial Bus, for audio and control data distribution in local and remote music recording studio environments. Current methods for connecting studio devices are described, and the need for a new digital interconnection technology explained. It is shown how this new interconnection technology and developing protocol standards make provision for multi-channel audio and control data distribution, routing, copyright protection, and device synchronisation. Feasibility is demonstrated by the implementation of a custom hardware and software solution. Remote music studio connectivity is considered, and the emerging standards and technologies for connecting future music studio utilising this new technology are discussed.
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Libri sul tema "Recording digital audio"

1

Rumsey, Francis. Digital audio operations. London: Focal Press, 1991.

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2

Principles of digital audio. 6^a ed. New York: McGraw-Hill, 2011.

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3

Coulter, Doug. Digital audio processing. Lawrence, Kan: CMP Books, 2000.

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4

Sams, Howard W. Digital audio dictionary. Indianapolis, IN: Prompt Publications, 1999.

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5

Digital audio. Scottsdale, Ariz: Coriolis, 2001.

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6

Digital audio watermarking. Berlin: Logos-Verl., 2004.

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7

Watkinson, John. An introduction to digital audio. Boston, MA: Focal Press, 1994.

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8

Erne, Markus. Digital audio resource pack. Boston, Mass: Butterworth-Heinemann, 1998.

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9

Pohlmann, Ken C. Principles of digital audio. 3^a ed. New York: McGraw-Hill, 1995.

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10

Pohlmann, Ken C. Principles of digital audio. 2^a ed. Indianapolis, Ind., USA: H.W. Sams, 1989.

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Capitoli di libri sul tema "Recording digital audio"

1

James, Daniel. "Recording Audio". In Crafting Digital Media, 247–84. Berkeley, CA: Apress, 2009. http://dx.doi.org/10.1007/978-1-4302-1888-3_9.

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2

Huber, David Miles, e Robert E. Runstein. "Digital Audio Technology". In Modern Recording Techniques, 195–217. Edition 9. | New York; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315666952-6.

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3

Rumsey, Francis, e Tim McCormick. "Digital Audio Principles". In Sound and Recording, 127–66. 8^a ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003092919-5.

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Huber, David Miles, e Robert E. Runstein. "The Digital Audio Workstation". In Modern Recording Techniques, 219–64. Edition 9. | New York; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315666952-7.

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5

Eargle, John. "Digital Audio Tape (DAT)". In Handbook of Recording Engineering, 454–57. Boston, MA: Springer US, 1992. http://dx.doi.org/10.1007/978-1-4757-1129-5_31.

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Rumsey, Francis, e Tim McCormick. "Digital Audio Interfaces and Networking". In Sound and Recording, 319–44. 8^a ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003092919-10.

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Sauls, Samuel J., e Craig A. Stark. "Podcasting and Digital Audio Recording". In Audio Production Worktext, 109–23. 10^a ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003121886-6.

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Eargle, John M. "An Overview of Digital Audio Workstations". In Handbook of Recording Engineering, 439–46. Boston, MA: Springer US, 1996. http://dx.doi.org/10.1007/978-1-4684-9919-3_32.

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Eargle, John M. "Low Bit Rate Digital Coding of Audio". In Handbook of Recording Engineering, 290–93. Boston, MA: Springer US, 1996. http://dx.doi.org/10.1007/978-1-4684-9919-3_20.

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Ashbourn, Julian. "High-Resolution Digital Recording and Re-Sampling". In Audio Technology, Music, and Media, 69–72. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62429-3_16.

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Atti di convegni sul tema "Recording digital audio"

1

Lougher, P. "Scalable storage servers for digital audio and video". In International Conference on Storage and Recording Systems. IEE, 1994. http://dx.doi.org/10.1049/cp:19941148.

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2

Tsuji, Shiro, Masamitsu Ohtsu e Nobuyoshi Kihara. "Digital Audio Recording in M II Format VTR". In SMPTE Television Conference. IEEE, 1986. http://dx.doi.org/10.5594/m00777.

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Rumsey, F. J. "Data reduction for high quality digital audio storage and transmission". In International Conference on Storage and Recording Systems. IEE, 1994. http://dx.doi.org/10.1049/cp:19941125.

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4

Perez, Mauricio, Rodolfo Coelho De Souza e Regis Rossi Alves Faria. "Digital Design of Audio Signal Processing Using Time Delay". In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10449.

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This poster describes the design in PureData of some audio signals processes in real time like delay, echo, reverb, chorus, flanger e phaser. We analyze the technical characteristics of each process and the psychoacoustic effects produced by them in human perception and audio applications. A deeper comprehension of the consequences of sound processes based on delay lines helps the decision-making in professional audio applications such as the audio recording, mixing, besides music composition that employs sound effects in preprocessed or real-time.

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Davies, Kenneth P. "The Digital Television Tape Recorder — Audio and Data Recording Aspects". In SMPTE Television Conference. IEEE, 1985. http://dx.doi.org/10.5594/m00816.

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Rosback, Thomas J. "A Digital Audio Time Base Corrector for Linear Magnetic Recording". In SMPTE Television Conference. IEEE, 1985. http://dx.doi.org/10.5594/m00820.

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Mirghani, Moutaman, e Hadeel Osman Madane. "Evaluation of the quality of encoded Quran digital audio recording". In 2017 International Conference on Communication, Control, Computing and Electronics Engineering (ICCCCEE). IEEE, 2017. http://dx.doi.org/10.1109/iccccee.2017.7867657.

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Liu, Yuming, Zhiyong Yuan, Penn N. Markham, Richard W. Conners e Yilu Liu. "Wide-area frequency as a criterion for digital audio recording authentication". In 2011 IEEE Power & Energy Society General Meeting. IEEE, 2011. http://dx.doi.org/10.1109/pes.2011.6039361.

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Jamil, Muhammad Hassan, Prince Steven Annor, Jonathan Sharfman, Robert Parthesius, Isabelle Garachon e Mohamad Eid. "The Role of Haptics in Digital Archaeology and Heritage Recording Processes". In 2018 IEEE International Symposium on Haptic, Audio and Visual Environments and Games (HAVE). IEEE, 2018. http://dx.doi.org/10.1109/have.2018.8547505.

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Song, Xie, Pei Tian e Yingyun Yang. "Recognition Of live performance sound and studio recording sound based on audio comparison". In 2012 3rd IEEE International Conference on Network Infrastructure and Digital Content (IC-NIDC 2012). IEEE, 2012. http://dx.doi.org/10.1109/icnidc.2012.6418776.

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Rapporti di organizzazioni sul tema "Recording digital audio"

1

Donaghey, S., S. Berman e N. Seja. More Than A War: Remembering 1914-1918. Unitec ePress, maggio 2016. http://dx.doi.org/10.34074/emed.035.

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More Than a War: Remembering 1914-1918 presents a creative juxtaposition of digital platforms—a combination of audio, video, archival images, soundscapes, and social media, among others—to tell the stories from 1914–1918 a century later. Led by Sara Donaghey, Sue Berman and Nina Seja, the transmedia project brings together staff and students from Unitec Institute of Technology’s Department of Communication Studies and Auckland Libraries to provide a unique oral contribution to recording the history of Aotearoa New Zealand in The First World War.

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Job, Jacob. Mesa Verde National Park: Acoustic monitoring report. National Park Service, luglio 2021. http://dx.doi.org/10.36967/nrr-2286703.

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In 2015, the Natural Sounds and Night Skies Division (NSNSD) received a request to collect baseline acoustical data at Mesa Verde National Park (MEVE). Between July and August 2015, as well as February and March 2016, three acoustical monitoring systems were deployed throughout the park, however one site (MEVE002) stopped recording after a couple days during the summer due to wildlife interference. The goal of the study was to establish a baseline soundscape inventory of backcountry and frontcountry sites within the park. This inventory will be used to establish indicators and thresholds of soundscape quality that will support the park and NSNSD in developing a comprehensive approach to protecting the acoustic environment through soundscape management planning. Additionally, results of this study will help the park identify major sources of noise within the park, as well as provide a baseline understanding of the acoustical environment as a whole for use in potential future comparative studies. In this deployment, sound pressure level (SPL) was measured continuously every second by a calibrated sound level meter. Other equipment included an anemometer to collect wind speed and a digital audio recorder collecting continuous recordings to document sound sources. In this document, “sound pressure level” refers to broadband (12.5 Hz–20 kHz), A-weighted, 1-second time averaged sound level (LAeq, 1s), and hereafter referred to as “sound level.” Sound levels are measured on a logarithmic scale relative to the reference sound pressure for atmospheric sources, 20 μPa. The logarithmic scale is a useful way to express the wide range of sound pressures perceived by the human ear. Sound levels are reported in decibels (dB). A-weighting is applied to sound levels in order to account for the response of the human ear (Harris, 1998). To approximate human hearing sensitivity, A-weighting discounts sounds below 1 kHz and above 6 kHz. Trained technicians calculated time audible metrics after monitoring was complete. See Methods section for protocol details, equipment specifications, and metric calculations. Median existing (LA50) and natural ambient (LAnat) metrics are also reported for daytime (7:00–19:00) and nighttime (19:00–7:00). Prominent noise sources at the two backcountry sites (MEVE001 and MEVE002) included vehicles and aircraft, while building and vehicle predominated at the frontcountry site (MEVE003). Table 1 displays time audible values for each of these noise sources during the monitoring period, as well as ambient sound levels. In determining the current conditions of an acoustical environment, it is informative to examine how often sound levels exceed certain values. Table 2 reports the percent of time that measured levels at the three monitoring locations were above four key values.

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CONCEPT AND FUNCTIONS OF E-JUSTICE IN THE DIGITAL ECONOMY. DOI CODE, 2021. http://dx.doi.org/10.18411/0131-5226-2021-70001.

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Abstract. The article deals with the concept of "electronic justice" and features of the use of electronic justice for the consideration of economic disputes. In the digital economy e-justice is one of the legal constructions that provide a comfortable legal environment for economic activity. This is a complex of legal relations and technological solutions that provides individuals and legal entities with the opportunity to use digital technologies at all stages of the judicial process, to obtain information about the activities of courts through electronic access. The e-justice mechanism includes video and audio recording of court sessions, electronic document management with the use of an electronic signature, an electronic archive for storing electronic documents, the use of cloud technologies, as well as the use of electronic documents as evidence. Improving the legal regulation of e-justice in the digital economy, along with reforming procedural legislation, should include the development of a Federal law on electronic documents.

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