DOCSLIB.ORG

Analysis of Audio File Structure Format Jennifer L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Analysis of Audio File Structure Format Jennifer L ICMSIT 2017: 4th International Conference on Management Science, Innovation, and Technology 2017 Faculty of Management Science, Suan Sunandha Rajabhat University (http://www.icmsit.ssru.ac.th) FILE CONVERSION AFTERMATH: ANALYSIS OF AUDIO FILE STRUCTURE FORMAT JENNIFER L. SANTOS1 JASMIN D. NIGUIDULA Abstract Technological innovation has brought a massive leap in data processing. As information turns out to be broadly accessible, various tools have been produced to create more types of format on existing data. This format is then manipulated to fit in different processing structure to generate needed results. In information technology, audio is one of the most flexible types of data that could be manipulated into different forms. In this light, this paper evaluates the conversion of multiple audio files in waveform audio file (.wav) formats to .mp3, wma, and . Aac formats using standard parameters. The evaluation has demonstrated noteworthy changes as compared to the original files and as supported by interesting fact, this study further explained the structures behind the converted output. Keywords: Audio Compression, Audio Format, Audio Analysis 1. INTRODUCTION The sounds that human hear from nature are analog, and these are processed by our auditory senses in their original format, but if theses sounds would be stored, they would have to be converted in digital form. Audio file is created through the PC either from a recording or produced naturally by a synthesizer. There are many applications available nowadays where people can just select, listen, and sometimes download songs they love. Music lovers can download the audio files in various formats. Even journal articles can be converted to audio files particularly in mp3 format so people with low-vision or no vision at all can have access to the journals. Downloading data from the internet may affect the size and quality of the data. For easy uploading and downloading in the internet, data compression is used. Data compression is a process where allowable number of bits is reduced for easy storage and transmission of data. Ordinary music listeners may not be able to distinguish compressed music from uncompressed music most especially if these are digital audio files. Audio files in compact discs (CD’s) are uncompressed, and needs 1 Technological Institute of the Philippines (T.I.P.)- Manila Email: [email protected], [email protected] 51 ICMSIT 2017: 4th International Conference on Management Science, Innovation, and Technology 2017 Faculty of Management Science, Suan Sunandha Rajabhat University (http://www.icmsit.ssru.ac.th) to be converted to compressed formats to be read on a computer or portable device. The quality of the audio file is dependent on the bit rate as better quality of the audio is achieved when it is higher. This paper aims to analyze the factors that affect the audio quality upon audio conversion. Comparison of original data and converted data will be presented and evaluated in terms of audio file size, audio duration, audio stream size, audio sampling rate, and audio overall bit rate. 2. RELATED WORKS There are various distinctive sorts of Audio records. The most well-known are Wave documents (wav) and MPEG Layer-3 records (mp3). The way the sound is packed and put away is called the codec which decides how little the document size is. Some document sorts dependably utilize a specific codec. Waveform Audio (wav) File Format is a standard sound record arrange utilized for the most part in Windows PCs. file MPEG-1 Audio Layer-3 (mp3) is a standard format for downloading and storing around one-twelfth of the size of the original audio files while maintaining the quality of the sound. Free Lossless Audio Codec (flac) on the other hand is a lossless compression codec, compression and decompression of this file type does not affect the original file. Windows Media Audio (wma) is an audio format developed by Microsoft, and it can encode digital audio like that of mp3 but with a higher rate. Advanced Audio Coding format (aac) is used in compressing lossy digital audio files. AAC and MP3 has similar rates but AAC produces better quality of sound. [6] Data compression may be classified as lossless or lossy. In lossy compression, the size of the compressed file is very small as compared to the original data because some signals were removed. [7]Compression of audio, video, and image use lossy methods. [8] Additionally, data compression is a process that reduces specific files. It discards redundancy and inaudible data to lessen the file size and transmission time of the data while maintaining the supposed audio quality. The term audio compression is used when audio signals are used as data. Original signal is filtered while removing unwanted signals so that only true digital signal is produced. MP3 uses variable-length Huffman codes and tis results to a more effective data compression. The sampling rate can have values of be 32, 44.1, or 48 kHz. It is very well appropriate for audio transmission over the internet. Different algorithm is used in converting audio data such as Run-length encoding (RLE), Burrows-wheeler transform (BWT), Move to front transform (MTF), and Arithmetic coding (ARI). Other techniques are Shannon- Fano, Huffman Coding. The result of data compression is dependent on the data source while the characteristic of the output relies whether the converted format is lossy or lossless. 52 ICMSIT 2017: 4th International Conference on Management Science, Innovation, and Technology 2017 Faculty of Management Science, Suan Sunandha Rajabhat University (http://www.icmsit.ssru.ac.th) 3. METHODOLOGY a. Audio Conversion and Audio Analyzer Tool The Waveform Audio File (.wav) format audio files used were extracted using the online website www.onlinevideoconverter.com. The videos were randomly selected from the nursery rhymes in YouTube.com. The URL of the videos were copied and pasted into the online converter to convert the videos into audio files. This research utilizes an audio conversion tool known as format factory. The tools’ feature includes conversion of video, audio and picture files. Specifically, it converts audio data to MPEG-1 Audio Layer-3 (.mp3), Windows Media Audio (.wma), and Advanced Audio Coding (.aac) format. As the research assess multiple audio files converted to four audio formats, another tool is then used for the analysis of the results. The data results of the conversion are then evaluated using an open source application. The Media Info is a tool that accesses to technical information such that of reviewing different audio format, customization of format, exporting of information, providing a graphical user interface, and integration of data in a shell. b. Formulation Experimental method was used in this research as it manipulates multiple data, and controls the rest of the data. In this case, three nursery songs (audio files) are used entitled Baa Baa Black Sheep, Head Shoulders Knees Toes, and Hey Diddle Diddle. The three original data used are in Waveform Audio File (.wav) format and are subject for conversion using Format Factory into MPEG-1 Audio Layer-3 (.mp3), Windows Media Audio (.wma), Free Lossless Audio Codec (.flac), and Advanced Audio Coding (.aac) formats. After the conversion, the results are then analyzed in the MediaInfo application utilizing the accompanying parameters: Table 1. Parameters for Identifying Audio Conversion Findings Parameters for Audio Conversion Analysis Audio File Size Audio Duration Overall bit rate Sampling rate Stream Size 53 ICMSIT 2017: 4th International Conference on Management Science, Innovation, and Technology 2017 Faculty of Management Science, Suan Sunandha Rajabhat University (http://www.icmsit.ssru.ac.th) Waveform Audio File (.wav) format have uncompressed audio in Pulse-Code Modulation (PCM) format. In, PCM the signals can only have two values, 1 or 0. There are three steps involved in pulse code modulation as displayed in figure 1. The first step involves conversion of continuous amplitude signal into discrete-time- continuous signal. Followed by quantization where the excessive and redundant bits are reduced and compressed. And finally the analog signals are digitized in encoding, and therefore the bandwidth used by the signal is reduced. Sampling Quantizing Encoding Figure 1. Block diagram of Pulse Code Modulation Modified Discrete Cosine Transform (MDCT) is used in most lossy formats such as MP3, AAC, and WMA. MDCT is a Fourier related change in light of type-IV DCT and has an extra property of being "lapped”, making it very useful in quantization. The following equation is used in MDCT. 4. RESULTS AND DISCUSSION This part of the study shows the extraction results based on the different parameters from the audio conversion tool. The audio file size, and the audio stream size are both measured in megabytes (MB), the duration of the audio files are presented in seconds (sec), overall bit rate of the audio files is presented in bits per second (kbps), and the audio sampling rate is measured in kilohertz (kHz). Figure 2. Result of Audio Conversion of Baa Baa Black Sheep using Format factory as analyzed by Media Info 54 ICMSIT 2017: 4th International Conference on Management Science, Innovation, and Technology 2017 Faculty of Management Science, Suan Sunandha Rajabhat University (http://www.icmsit.ssru.ac.th) Since the audio file has been converted to formats wherein the file size has been reduced, it can be said that the audio file had undergone compression. Figure 2 shows the data extracted from the Media Info in analyzing Baa Baa Black Sheep. It can be noted that the .wav format has the biggest file size and stream size, and the .aac format has the smallest file size and stream size. Duration and sampling rate did not change after the conversions of .wav file to other audio formats used in the study. Figure 3.
Load more

Recommended publications
  • 'DIY' Digital Preservation for Audio Identify · Appraise · Organise · Preserve · Access Plan + Housekeeping
    'DIY' Digital Preservation for Audio Identify · Appraise · Organise · Preserve · Access Plan + housekeeping Part 1 (10:00am-10:50am) Part 2 (11:00am-11:45am) 10:00am-10:10am Intros and housekeeping 10:50am-11:00am [10-minute comfort break] 10:10am-10:30am Digital Preservation for audio 11:00am-11:15am Organise (Migrate) What material do you care 11:15am-11:45am Store, Maintain, Access about and hope to keep?_ Discussion & Questions 10:30am-10:50am Locate, Appraise, Identify What kind of files are you working with?_ Feel free to Using Zoom swap to ‘Grid View’ when slides are not in use, to gage ‘the room’. Please use the chat Please keep function to your mic on ask questions ‘mute’ when while slides not speaking. are in use. Who are we? • Bridging the Digital Gap traineeship scheme • UK National Archives (National Lottery Heritage Fund) • bringing ‘digital’ skills into the archives sector Why are we doing these workshops? • agitate the cultural record to reflect lived experience • embrace tools that support historical self-determination among non- specialists • raise awareness, share skills, share knowledge What is digital preservation? • digital material is vulnerable in different ways to analog material • digital preservation = “a series of managed activities undertaken to ensure continued access to digital materials for as long as necessary.” Audio practices and technological dependency Image credit: Tarje Sælen Lavik Image credit: Don Shall Image credit: Mk2010 Image credit: Stahlkocher Image credit: JuneAugust Digital preservation and ‘born-digital’ audio Bitstream File(s) Digital Content Rendered Content • codecs (e.g. LPCM) • formats and containers (e.g.
    [Show full text]
  • A Forensic Database for Digital Audio, Video, and Image Media
    THE “DENVER MULTIMEDIA DATABASE”: A FORENSIC DATABASE FOR DIGITAL AUDIO, VIDEO, AND IMAGE MEDIA by CRAIG ANDREW JANSON B.A., University of Richmond, 1997 A thesis submitted to the Faculty of the Graduate School of the University of Colorado Denver in partial fulfillment of the requirements for the degree of Master of Science Recording Arts Program 2019 This thesis for the Master of Science degree by Craig Andrew Janson has been approved for the Recording Arts Program by Catalin Grigoras, Chair Jeff M. Smith Cole Whitecotton Date: May 18, 2019 ii Janson, Craig Andrew (M.S., Recording Arts Program) The “Denver Multimedia Database”: A Forensic Database for Digital Audio, Video, and Image Media Thesis directed by Associate Professor Catalin Grigoras ABSTRACT To date, there have been multiple databases developed for use in many forensic disciplines. There are very large and well-known databases like CODIS (DNA), IAFIS (fingerprints), and IBIS (ballistics). There are databases for paint, shoeprint, glass, and even ink; all of which catalog and maintain information on all the variations of their specific subject matter. Somewhat recently there was introduced the “Dresden Image Database” which is designed to provide a digital image database for forensic study and contains images that are generic in nature, royalty free, and created specifically for this database. However, a central repository is needed for the collection and study of digital audios, videos, and images. This kind of database would permit researchers, students, and investigators to explore the data from various media and various sources, compare an unknown with knowns with the possibility of discovering the likely source of the unknown.
    [Show full text]
  • Kdv-Mp6032u Dvd-Receiver Instruction Manual Receptor Dvd Manual De Instrucciones Receptor Dvd Manual De Instruções
    KDV-MP6032U DVD-RECEIVER INSTRUCTION MANUAL RECEPTOR DVD MANUAL DE INSTRUCCIONES RECEPTOR DVD MANUAL DE INSTRUÇÕES © B64-4247-08/00 GET0556-001A (R) BB64-4247-08_KDVMP6032U_en.indb64-4247-08_KDVMP6032U_en.indb 1 008.5.98.5.9 33:38:29:38:29 PPMM Contents Before use 3 Listening to the USB Playable disc type 6 device 23 Preparation 7 Dual Zone operations 24 Basic operations 8 Listening to the iPod 25 When connecting with the USB cable Basic operations Operations using the control screen — Remote controller 9Listening to the other external Main elements and features components 29 Listening to the radio 11 Selecting a preset sound When an FM stereo broadcast is hard to receive FM station automatic presetting mode 31 — SSM (Strong-station Sequential Memory) General settings — PSM 33 Manual presetting Listening to the preset station on Disc setup menu 37 the Preset Station List Disc operations 13 Title assignment 39 Operations using the control panel More about this unit 40 Selecting a folder/track on the list (only for MP3/WMA/WAV file) Troubleshooting 47 Operations using the remote controller Operations using the on-screen bar Specifications 51 Operations using the control screen Operations using the list screen 2 | KDV-MP6032U BB64-4247-08_KDVMP6032U_en.indb64-4247-08_KDVMP6032U_en.indb 2 008.5.98.5.9 33:38:33:38:33 PPMM Before use 2WARNING Cleaning the Unit To prevent injury or fire, take the If the faceplate of this unit is stained, wipe it with a following precautions: dry soft cloth such as a silicon cloth. If the faceplate is stained badly, wipe the stain off • To prevent a short circuit, never put or leave any with a cloth moistened with neutral cleaner, then metallic objects (such as coins or metal tools) inside wipe it again with a clean soft dry cloth.
    [Show full text]
  • VMP74 Datasheet
    VMP74 Full HD Digital Media Player Infinite Digital Entertainment Hot and loud without the heat and noise The changing face of media requires new ways to integrate this revolution into an existing home viewing experience. Enjoying a library of unlimited music and video content is possible using the ViewSonic VMP74. With no moving parts and generating no heat, the VMP74 invisibly integrates into any home cinema environment. In addition to online video sources such as BBC iPlayer * and YouTube, the VMP74 connects to social networks such as Flickr and Facebook allowing constant access within a big screen experience. The powerful processor of the VMP performs seamless 1080p up-scaling of most video formats and delivers cinema quality audio. *VMP74: BBCi Player is available on the VMP74 in the UK only Corporate names, trademarks stated herein are the property of their respective companies. Copyright © 2010 ViewSonic® Corporation. All rights reserved. VMP74 Infinite Digital Entertainment > Multi-format support: The VMP74/75 support all major video, audio and photo formats, including MKV,AVI, MOV, JPG, WAV, MP4, MP3, FLAC and Internet radio broadcasts. > Video-on-Demand from all over the world: Video programs can be streamed from sources such as the BBC iPlayer or YouTube for virtually an unlimited selection of online content. > Internet surfing: Thanks to the solid Internet functions of VMP74, it is possible to freely explore the internet and visit social networking sites without using a dedicated expensive and power hungry PC. > Full HD video and audio support: The entire ViewSonic ® VMP Series delivers Full HD and high-fidelity Dolby Digital audio through the digital HDMI 1.3 and optical interfaces interface as standard.
    [Show full text]
  • Lossless Compression of Audio Data
    CHAPTER 12 Lossless Compression of Audio Data ROBERT C. MAHER OVERVIEW Lossless data compression of digital audio signals is useful when it is necessary to minimize the storage space or transmission bandwidth of audio data while still maintaining archival quality. Available techniques for lossless audio compression, or lossless audio packing, generally employ an adaptive waveform predictor with a variable-rate entropy coding of the residual, such as Huffman or Golomb-Rice coding. The amount of data compression can vary considerably from one audio waveform to another, but ratios of less than 3 are typical. Several freeware, shareware, and proprietary commercial lossless audio packing programs are available. 12.1 INTRODUCTION The Internet is increasingly being used as a means to deliver audio content to end-users for en­ tertainment, education, and commerce. It is clearly advantageous to minimize the time required to download an audio data file and the storage capacity required to hold it. Moreover, the expec­ tations of end-users with regard to signal quality, number of audio channels, meta-data such as song lyrics, and similar additional features provide incentives to compress the audio data. 12.1.1 Background In the past decade there have been significant breakthroughs in audio data compression using lossy perceptual coding [1]. These techniques lower the bit rate required to represent the signal by establishing perceptual error criteria, meaning that a model of human hearing perception is Copyright 2003. Elsevier Science (USA). 255 AU rights reserved. 256 PART III / APPLICATIONS used to guide the elimination of excess bits that can be either reconstructed (redundancy in the signal) orignored (inaudible components in the signal).
    [Show full text]
  • Game Audio the Role of Audio in Games
    the gamedesigninitiative at cornell university Lecture 18 Game Audio The Role of Audio in Games Engagement Entertains the player Music/Soundtrack Enhances the realism Sound effects Establishes atmosphere Ambient sounds Other reasons? the gamedesigninitiative 2 Game Audio at cornell university The Role of Audio in Games Feedback Indicate off-screen action Indicate player should move Highlight on-screen action Call attention to an NPC Increase reaction time Players react to sound faster Other reasons? the gamedesigninitiative 3 Game Audio at cornell university History of Sound in Games Basic Sounds • Arcade games • Early handhelds • Early consoles the gamedesigninitiative 4 Game Audio at cornell university Early Sounds: Wizard of Wor the gamedesigninitiative 5 Game Audio at cornell university History of Sound in Games Recorded Basic Sound Sounds Samples Sample = pre-recorded audio • Arcade games • Starts w/ MIDI • Early handhelds • 5th generation • Early consoles (Playstation) • Early PCs the gamedesigninitiative 6 Game Audio at cornell university History of Sound in Games Recorded Some Basic Sound Variability Sounds Samples of Samples • Arcade games • Starts w/ MIDI • Sample selection • Early handhelds • 5th generation • Volume • Early consoles (Playstation) • Pitch • Early PCs • Stereo pan the gamedesigninitiative 7 Game Audio at cornell university History of Sound in Games Recorded Some More Basic Sound Variability Variability Sounds Samples of Samples of Samples • Arcade games • Starts w/ MIDI • Sample selection • Multiple
    [Show full text]
  • Lossy Audio Compression Identification
    2018 26th European Signal Processing Conference (EUSIPCO) Lossy Audio Compression Identification Bongjun Kim Zafar Rafii Northwestern University Gracenote Evanston, USA Emeryville, USA [email protected] zafar.rafi[email protected] Abstract—We propose a system which can estimate from an compression parameters from an audio signal, based on AAC, audio recording that has previously undergone lossy compression was presented in [3]. The first implementation of that work, the parameters used for the encoding, and therefore identify the based on MP3, was then proposed in [4]. The idea was to corresponding lossy coding format. The system analyzes the audio signal and searches for the compression parameters and framing search for the compression parameters and framing conditions conditions which match those used for the encoding. In particular, which match those used for the encoding, by measuring traces we propose a new metric for measuring traces of compression of compression in the audio signal, which typically correspond which is robust to variations in the audio content and a new to time-frequency coefficients quantized to zero. method for combining the estimates from multiple audio blocks The first work to investigate alterations, such as deletion, in- which can refine the results. We evaluated this system with audio excerpts from songs and movies, compressed into various coding sertion, or substitution, in audio signals which have undergone formats, using different bit rates, and captured digitally as well lossy compression, namely MP3, was presented in [5]. The as through analog transfer. Results showed that our system can idea was to measure traces of compression in the signal along identify the correct format in almost all cases, even at high bit time and detect discontinuities in the estimated framing.
    [Show full text]
  • FACTFILE: GCSE DIGITAL TECHNOLOGY Unit 1 – DIGITAL DATA
    FACTFILE: GCSE DIGITAL TECHNOLOGY Unit 1 – DIGITAL DATA Fact File 4: Portability Learning Outcomes Students should be able to: • demonstrate understanding of data portability and the following file formats that support it: jpeg, tiff, png, pict, gif, txt, csv, rtf, mp3, mp4, midi, mpeg, avi, pdf, wav and wma. • demonstrate understanding of the need for data compression. The Need For Data Compression Compression means reducing the storage requirements of a file by following one or more compression algorithms. LOSSLESS compression enables the original file to be fully restored to its original state. LOSSY compression involves discarding some data as part of the overall compression process in such a way that the data can never be reinstated. Files that demand high volumes of storage also require high bandwidth communication links in order for transmission to be completed within an acceptable time frame. Compression is used to reduce the: • VOLUME of storage required on storage DEVICES, enabling larger quantities of data to fit into the same amount of storage space • BANDWIDTH required to transfer multimedia files across COMMUNICATION LINKS (locally, nationally and globally) Without compression: • Very high VOLUMES of storage would be required, occupying more physical space and slowing down retrieval/save times • The available BANDWIDTH on most local and global networks would not cope with the volumes of data being sent, disrupting communication services (leading to e.g. lagging video streaming) Of course, there will be a price to pay for the benefits of compression, i.e. time will have to be set aside to compress and decompress the files as they are moved in and out of storage or across communication links.
    [Show full text]
  • 1 Last Date Modified: 30 April 2015 BAE SYSTEMS INFORMATION
    BAE SYSTEMS INFORMATION SOLUTIONS INC. GEOSPATIAL EXPLOITATION PRODUCTS® PLATFORM SOFTWARE LICENSE AGREEMENT THIS SOFTWARE LICENSE AGREEMENT (“AGREEMENT”) APPLIES TO ANY SOFTWARE PRODUCT(S) THAT MAY BE PROVIDED BY BAE SYSTEMS INFORMATION SOLUTIONS INC. (“LICENSOR”) TO YOU (“LICENSEE”), INCLUDING BUT NOT LIMITED TO GXP XPLORER®, SOCET GXP ®, SOCET SET®, GXP WEBVIEWTM, GXP INMOTIONTM, GXP INMOTIONTM SERVER GXP JPIP SERVER AND IF APPLICABLE (AS SPECIFICALLY IDENTIFIED IN THE APPLICABLE ORDERING DOCUMENT OR CONTRACT) THE GXP XPLORER SERVER JPIP CONNECTOR FOR EXELIS IAS AND/OR THE GXP XPLORER SERVER TO DIB CONNECTOR (EACH SEPARATELY REFERRED TO BELOW AS “GXP SOFTWARE”). READ THE TERMS AND CONDITIONS OF THIS AGREEMENT CAREFULLY BEFORE (1) OPENING THE PACKAGE OR DOWNLOADING THE FILE CONTAINING THE GXP SOFTWARE, OR (2) CLICKING THE “I ACCEPT” BUTTON. THE GXP SOFTWARE AND THE ACCOMPANYING USER DOCUMENTATION (EACH REFERRED TO AS THE “PROGRAM”) ARE COPYRIGHTED AND LICENSED - NOT SOLD. BY OPENING THE SOFTWARE PACKAGE, OR CLICKING “I ACCEPT”, YOU ARE ACCEPTING AND AGREEING TO THE TERMS OF THIS AGREEMENT. IF YOU DO NOT ACCEPT THE TERMS AND CONDITIONS OF THIS AGREEMENT PROMPTLY RETURN THE UNOPENED PACKAGE TO THE PARTY FROM WHOM IT WAS ACQUIRED, CANCEL THE DOWNLOAD OR CANCEL THE INSTALLATION. IF YOU ARE A UNITED STATES (“U.S”) GOVERNMENT CUSTOMER, ACCEPTANCE OF THESE TERMS ARE EFFECTUATED BY ACCEPTANCE OF A PROPOSAL, QUOTE, OR OTHER ORDERING DOCUMENT OR CONTRACT INCORPORATING THIS AGREEMENT BY REFERENCE OR OTHERWISE OR BY CONTRACTING OFFICER EXECUTION OF THIS AGREEMENT. THIS AGREEMENT REPRESENTS THE ENTIRE AGREEMENT CONCERNING THE LICENSING OF THE PROGRAM BETWEEN LICENSEE AND LICENSOR, AND IT SUPERSEDES AND REPLACES IN ITS ENTIRETY ANY PRIOR PROPOSAL, REPRESENTATION, OR UNDERSTANDING BETWEEN THE PARTIES.
    [Show full text]
  • Methods of Sound Data Compression \226 Comparison of Different Standards
    See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/251996736 Methods of sound data compression — Comparison of different standards Article CITATIONS READS 2 151 2 authors, including: Wojciech Zabierowski Lodz University of Technology 123 PUBLICATIONS 96 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: How to biuld correct web application View project All content following this page was uploaded by Wojciech Zabierowski on 11 June 2014. The user has requested enhancement of the downloaded file. 1 Methods of sound data compression – comparison of different standards Norbert Nowak, Wojciech Zabierowski Abstract - The following article is about the methods of multimedia devices, DVD movies, digital television, data sound data compression. The technological progress has transmission, the Internet, etc. facilitated the process of recording audio on different media such as CD-Audio. The development of audio Modeling and coding data compression has significantly made our lives One's requirements decide what type of compression he easier. In recent years, much has been achieved in the applies. However, the choice between lossy or lossless field of audio and speech compression. Many standards method also depends on other factors. One of the most have been established. They are characterized by more important is the characteristics of data that will be better sound quality at lower bitrate. It allows to record compressed. For instance, the same algorithm, which the same CD-Audio formats using "lossy" or lossless effectively compresses the text may be completely useless compression algorithms in order to reduce the amount in the case of video and sound compression.
    [Show full text]
  • Open Source Licenses Applicable to Hitachi's Products Earlier Versions
    Open Source Licenses Applicable to Hitachi’s Products EARLIER VERSIONS Several products are listed below together with certain open source licenses applicable to the particular product. The open source software licenses are included at the end of this document. If the open source package has been modified, an asterisk (*) appears next to the name of the package. Note that the source code for packages licensed under the GNU General Public License or similar type of license that requires the licensor to make the source code publicly available (“GPL Software”) may be available for download as indicated below. If the source code for GPL Software is not included in the software or available for download, please send requests for source code for GPL Software to the contact person listed for the applicable product. The materials below are provided “AS IS,” without warranty of any kind, including, but not limited to, the implied warranties of merchantability, fitness for a particular purpose, and non-infringement. Access to this material grants you no right or license, express or implied, statutorily or otherwise, under any patent, trade secret, copyright, or any other intellectual property right of Hitachi Vantara Corporation (“Hitachi”). Hitachi reserves the right to change any material in this document, and any information and products on which this material is based, at any time, without notice. Hitachi shall have no responsibility or liability to any person or entity with respect to any damages, losses, or costs arising from the materials
    [Show full text]
  • Repository Design Report with Attached Metadata Plan
    National Digital Information Infrastructure and Preservation Program Preserving Digital Public Television Project REPOSITORY DESIGN REPORT WITH ATTACHED METADATA PLAN Prepared by Joseph Pawletko, Software Systems Architect, New York University With contributions by Nan Rubin, Project Director, Thirteen/WNET-TV Kara van Malssen, Senior Research Scholar, New York University 2010-03-19 Table of Contents Executive Summary ………………………………………………………………………………………… 2 1. Background ……………………………………………………………………………………………..... 3 2. OAIS Reference Model and Terms …………………………………………………………………… 3 3. Preservation Repository Design ……………………………………………………………………….. 3 4. Core Archival Information Package Structure …………………………………………………….. 11 5. PDPTV Archival Information Package Structure …………………………………………………... 14 6. PDPTV Submission Information Packages …………………………………………………………... 17 7. PDPTV Archival Information Package Generation and Metadata Plan ……………………... 18 8. Content Transfer to the Library of Congress .……………………………………………………….. 22 9. Summary …………………………………………………………………………………………………… 23 10. Remaining Work …………………………………………………………………………………………. 30 11. Acknowledgements ……………………………………………………………………………………. 31 Appendix 1 Glossary and OAIS Operation ……………………………………………...…………… 32 Appendix 2 WNET NAAT 002405 METS File ……………………………………………………………. 37 Appendix 3 WNET NAAT 002405 PBCore File …………………………………………………………. 41 Appendix 4 WNET NAAT 002405 SD Broadcast Master PREMIS File ...……………………………. 46 Appendix 5 WNET NAAT 002405 SD Broadcast Master METSRights File …………………………. 48 Appendix 6 WGBH
    [Show full text]