DOCSLIB.ORG

Ation] AUDIO PRODUCTION

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ation] AUDIO PRODUCTION cover page as mentioned below: below: mentioned Youas arepage instructedcover the to updateupdate to the coverinstructed pageare asYou mentioned below: Increase the font size of the Course Name. Name. 1. IncreaseCourse the theof fontsize sizefont ofthe the CourseIncrease 1. Name. use the following as a header in the Cover Page. Page. Cover 2. the usein the followingheader a as as a headerfollowing the inuse the 2. Cover Page. ALAGAPPAUNIVERSITY UNIVERSITYALAGAPPA [Accredited with ’A+’ Grade by NAAC (CGPA:3.64) in the Third Cycle Cycle Third the in (CGPA:3.64) [AccreditedNAAC by withGrade ’A+’’A+’ Gradewith by NAAC[Accredited (CGPA:3.64) in the Third Cycle and Graded as Category–I University by MHRD-UGC] MHRD-UGC] by University and Category–I Graded as as Graded Category–I and University by MHRD-UGC] M.A. [Journalism and Mass Communication] 003 630 – KARAIKUDIKARAIKUDI – 630 003 309 23 EDUCATION DIRECTORATEDISTANCE OF OF DISTANCEDIRECTORATE EDUCATION AUDIO PRODUCTION II - Semester AUDIO PRODUCTION AUDIO M.A. [Journalism and Mass Communication] 309 23 cover page as mentioned below: below: mentioned Youas arepage instructedcover the to updateupdate to the coverinstructed pageare asYou mentioned below: Increase the font size of the Course Name. Name. 1. IncreaseCourse the theof fontsize sizefont ofthe the CourseIncrease 1. Name. use the following as a header in the Cover Page. Page. Cover 2. the usein the followingheader a as as a headerfollowing the inuse the2. Cover Page. M.A. [Journalism and Mass Communication] ALAGAPPAUNIVERSITY UNIVERSITYALAGAPPA [Accredited with ’A+’ Grade by NAAC (CGPA:3.64) in the Third Cycle Cycle Third the in (CGPA:3.64) [AccreditedNAAC by withGrade ’A+’’A+’ Gradewith by NAAC[Accredited (CGPA:3.64) in the Third Cycle and Graded as Category–I University by MHRD-UGC] MHRD-UGC] by University and Category–I Graded as as Graded Category–I and University by MHRD-UGC] KARAIKUDI – 630 003 003 630 – KARAIKUDIKARAIKUDI – 630 003 AUDIO PRODUCTION EDUCATION DIRECTORATEDISTANCE OF OF DISTANCEDIRECTORATE EDUCATION II - Semester ALAGAPPA UNIVERSITY [Accredited with ‘A+’ Grade by NAAC (CGPA:3.64) in the Third Cycle and Graded as Category–I University by MHRD-UGC] (A State University Established by the Government of Tamil Nadu) KARAIKUDI – 630 003 Directorate of Distance Education M.A. [Journalism and Mass Communication] II - Semester 309 23 AUDIO PRODUCTION Authors Ravindra Dubey, Former Dean, Kasturi Ram College of Higher Education, Narela, Delhi Units (1.2, 1.3, 1.5.2, 2.2.2, 2.3.2, 2.3.3, 3.0, 3.2, 6.4, 10) Dr Apoorva Buttan, Assistant Professor, Amity School of Communication, Amity University, India Units (1.4, 1.6, 2.2.3, 4, 5, 6.2-6.3, 7, 8, 9, 11.3, 12, 14.2.1, 14.3-14.3.2, 14.3.5) Paulomi M Jindal, Freelance Author Units (1.5-1.5.1, 2.3-2.3.1, 11.2, 13.2-13.3, 14.2, 14.4) Vikas® Publishing House, Units (1.0-1.1, 1.5.3, 1.7-1.11, 2.0-2.1, 2.2-2.2.1, 2.4-2.8, 3.1, 3.3-3.9, 6.0-6.1, 6.5-6.9, 11.0-11.1, 11.4-11.8, 13.0-13.1, 13.4-13.8, 14.0-14.1, 14.3.3-14.3.4, 14.3.6, 14.5-14.9) "The copyright shall be vested with Alagappa University" All rights reserved. No part of this publication which is material protected by this copyright notice may be reproduced or transmitted or utilized or stored in any form or by any means now known or hereinafter invented, electronic, digital or mechanical, including photocopying, scanning, recording or by any information storage or retrieval system, without prior written permission from the Alagappa University, Karaikudi, Tamil Nadu. Information contained in this book has been published by VIKAS® Publishing House Pvt. Ltd. and has been obtained by its Authors from sources believed to be reliable and are correct to the best of their knowledge. However, the Alagappa University, Publisher and its Authors shall in no event be liable for any errors, omissions or damages arising out of use of this information and specifically disclaim any implied warranties or merchantability or fitness for any particular use. Vikas® is the registered trademark of Vikas® Publishing House Pvt. Ltd. VIKAS® PUBLISHING HOUSE PVT. LTD. E-28, Sector-8, Noida - 201301 (UP) Phone: 0120-4078900 Fax: 0120-4078999 Regd. Office: 7361, Ravindra Mansion, Ram Nagar, New Delhi 110 055 Website: www.vikaspublishing.com Email: [email protected] Work Order No. AU/DDE/DE1-291/Preparation and Printing of Course Materials/2018 Dated 19.11.2018 Copies - 500 SYLLABI-BOOK MAPPING TABLE Audio Production Syllabi Mapping in Book BLOCK I: RADIO AND ITS VARIOUS PROGRAMMES Unit 1: History of Radio - Developments and Advances in Radio Unit 1: History, Basics and Journalism and techniques since inception – Radio in today’s Media Future of Radio Scenario; Future of Radio. Introduction to acoustics; different kinds of (Pages 1-40); studios vis-à-vis programme formats; varieties of Microphones; the Unit 2: Recording and broadcast chain; Transmission System Unit 2: Recording & Transmission systems; Modulation(Am & FM) (Pages 41-57); Antennas, Receivers Amplifiers, High Fidelity systems; Multi-track Unit 3: Radio Formats: Writing and recording technique; Stereo; Recording & Editing Consoles. Production Skills Unit 3: Radio Formats- Writing & Production skills vis-avis Diverse (Pages 58-79); Formats; The spoken word/ Interviews/Discussions /Symposia – Radio Unit 4: Special Audience plays / Radio Features & Documentaries/Music on Radio, Programmes on Radio Unit 4: Special Audience programmes on Radio- Programmes on Radio- (Pages 80-88) Programme for Children, Women, Youth Senior citizens, Rural Folk, Industrial workers, Defense personnel. BLOCK II: NEWS WRITING AND ITS PRINCIPLES Unit 5: News Writing and Presentation- Principals of News writing in a Unit 5: News Writing and public service broadcasting organization, as contrasted with News in Presentation private Radio (Pages 89-94); Unit 6: Principals of News presentation; News features; Professionals and Unit 6: Principles of News Freelance stringers reporting for Radio; Disaster coverage News Bulletins. Presentation Unit 7: Production Management- Economic Production Management; (Pages 95-109); Principles of Production Planning and Course of Production; Pre- Unit 7: Production Management at production, Production and Post-production; Management of personnel Radio Stations Financial and Technical resources; (Pages 110-119); Unit 8: Budgetary planning and control-Direct and Indirect costs; Human Unit 8: Budgetary Planning And resource Development; fixed variable factors in planning subject- Control research; conducive production conditions. (Pages 120-127) BLOCK III: Development of Radio and Recording Software Unit 9: Introduction, Innovative Developments in Radio Communication, Unit 9: Innovative Developments and Information Service Programmes on Radio Information Service Unit 10: Introduction, Community Radio; Local Radio; Campus Radio; (Pages 128-134); Private FM Radio Stations. Unit 10: Different Types of Unit 11: Introduction, Application of Sound in Studio formats Services of Radio Introduction to various Recording Softwares in the industry. (Pages 135-148); Unit 11: Aspects of Sound and Recording (Pages 149-163) BLOCK IV: SOUND RECORDING AND DIGITAL TECHNOLOGY Unit 12: Introduction, Application of Sound recording in Radio Stations. Unit 12: Basics of Sound Recording Unit 13: Sound spectrum and frequencies, History of recording and in Radio Stations formats (Pages 164-174); Unit 14: Digital technology and advancements - Creating files and Unit 13: Sound Spectrum and naming them – Recording – Using EQ, DYNMS, SFX, and Reverb – Recording Source Selection – Cleaning and Editing - Elements of music recording - (Pages 175-194); Mixing Pre and Post Mastering Unit 14: Basics of Digital Recording and Editing (Pages 195-238) CONTENTS INTRODUCTION BLOCK I: RADIO AND ITS VARIOUS PROGRAMMES UNIT 1 HISTORY, BASICS AND FUTURE OF RADIO 1-40 1.0 Introduction 1.1 Objectives 1.2 History of Radio 1.3 Developments and Advances in Radio Journalism in India 1.3.1 Development of Technology in Radio 1.4 Radio in Today’s Media Scenario and Future of Radio 1.5 Basics of Sound Recording 1.5.1 Introduction to Acoustics 1.5.2 Varieties of Microphones 1.5.3 The Broadcast Chain 1.6 Different kinds of studios vis-à-vis programme formats 1.7 Answers to Check Your Progress Questions 1.8 Summary 1.9 Key Words 1.10 Self Assessment Questions and Exercises 1.11 Further Readings UNIT 2 RECORDING AND TRANSMISSION SYSTEM 41-57 2.0 Introduction 2.1 Objectives 2.2 Basics of Transmission Systems 2.2.1 Transmitters, Antennas, Receivers and Amplifiers 2.2.2 Microphones and Antennas in Radio production 2.2.3 Modulation: AM and FM 2.3 Recording Techniques and Editing Consoles 2.3.1 High Fidelity, Stereo and Multi-track Recording Techniques 2.3.2 Creating the Stereo Effect 2.3.3 Audio Control Devices: Boards, Consoles and Mixers 2.4 Answers to Check Your Progress Questions 2.5 Summary 2.6 Key Words 2.7 Self Assessment Questions and Exercises 2.8 Further Readings UNIT 3 RADIO FORMATS: WRITING AND PRODUCTION SKILLS 58-79 3.0 Introduction 3.1 Objectives 3.2 Formats of Radio Programmes 3.3 Writing Skills for Radio Formats 3.4 Radio Production Process and Techniques 3.5 Answers to Check Your Progress Questions 3.6 Summary 3.7 Key Words 3.8 Self Assessment Questions and Exercises 3.9 Further Readings UNIT 4 SPECIAL AUDIENCE PROGRAMMES ON RADIO 80-88 4.0 Introduction 4.1 Objectives 4.2 Different Radio Programmes for Specific Audiences 4.2.1 Programmes for Children 4.2.2 Programmes For Women 4.2.3 Programme for Youth 4.2.4 Programmes
Load more

Recommended publications
  • Proceedings 2005
    LAC2005 Proceedings 3rd International Linux Audio Conference April 21 – 24, 2005 ZKM | Zentrum fur¨ Kunst und Medientechnologie Karlsruhe, Germany Published by ZKM | Zentrum fur¨ Kunst und Medientechnologie Karlsruhe, Germany April, 2005 All copyright remains with the authors www.zkm.de/lac/2005 Content Preface ............................................ ............................5 Staff ............................................... ............................6 Thursday, April 21, 2005 – Lecture Hall 11:45 AM Peter Brinkmann MidiKinesis – MIDI controllers for (almost) any purpose . ....................9 01:30 PM Victor Lazzarini Extensions to the Csound Language: from User-Defined to Plugin Opcodes and Beyond ............................. .....................13 02:15 PM Albert Gr¨af Q: A Functional Programming Language for Multimedia Applications .........21 03:00 PM St´ephane Letz, Dominique Fober and Yann Orlarey jackdmp: Jack server for multi-processor machines . ......................29 03:45 PM John ffitch On The Design of Csound5 ............................... .....................37 04:30 PM Pau Arum´ıand Xavier Amatriain CLAM, an Object Oriented Framework for Audio and Music . .............43 Friday, April 22, 2005 – Lecture Hall 11:00 AM Ivica Ico Bukvic “Made in Linux” – The Next Step .......................... ..................51 11:45 AM Christoph Eckert Linux Audio Usability Issues .......................... ........................57 01:30 PM Marije Baalman Updates of the WONDER software interface for using Wave Field Synthesis . 69 02:15 PM Georg B¨onn Development of a Composer’s Sketchbook ................. ....................73 Saturday, April 23, 2005 – Lecture Hall 11:00 AM J¨urgen Reuter SoundPaint – Painting Music ........................... ......................79 11:45 AM Michael Sch¨uepp, Rene Widtmann, Rolf “Day” Koch and Klaus Buchheim System design for audio record and playback with a computer using FireWire . 87 01:30 PM John ffitch and Tom Natt Recording all Output from a Student Radio Station .
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end.
    [Show full text]
  • Guitar Electronics Input/Output Structures Modify: Fender Amp Mxr Phase 100 More Gr- 500 the Ultimate Keyboard
    J u ly -Aug. 1981 PQLUPHONU $2 .5 0 ELECTRONIC MUSIC & HOME RECORDING ISSN: 0163-4534 GUITAR ELECTRONICS INPUT/OUTPUT STRUCTURES MODIFY: FENDER AMP MXR PHASE 100 MORE GR- 500 THE ULTIMATE KEYBOARD The Prophet-10 is the most complete keyboard instrument available today. The Prophet is a true polyphonic programmable synthesizer with 10 complete voices and 2 manuals. Each 5 voice keyboard has its own programmer allowing two completely different sounds to be played simultaneously. All ten voices can also be played from one keyboard program. Each voice has 2 voltage controlled oscillators, a mixer, a four pole low pass filter, two ADSR envelope generators, a final VCA and independent modula­ tion capabilities. The Prophet-10’s total capabilities are too The Prophet-10 has an optional polyphonic numerous to mention here, but some of the sequencer that can be installed when the Prophet features include: is ordered, or at a later date in the field. It fits * Assignable voice modes (normal, single, completely within the main unit and operates on double, alternate) the lower manual. Various features of the * Stereo and mono balanced and unbalanced sequencer are: outputs * Simplicity; just play normally & record ex­ * Pitch bend and modulation wheels actly what you play. * Polyphonic modulation section * 2500 note capability, and 6 memory banks. * Voice defeat system * Built-in micro-cassette deck for both se­ * Two assignable & programmable control quence and program storage. voltage pedals which can act on each man­ * Extensive editing & overdubbing facilities. ual independently * Exact timing can be programmed, and an * Three-band programmable equalization external clock can be used.
    [Show full text]
  • News Deserts and Ghost Newspapers: Will Local News Survive?
    NEWS DESERTS AND GHOST NEWSPAPERS: WILL LOCAL NEWS SURVIVE? PENELOPE MUSE ABERNATHY Knight Chair in Journalism and Digital Media Economics Will Local News Survive? | 1 NEWS DESERTS AND GHOST NEWSPAPERS: WILL LOCAL NEWS SURVIVE? By Penelope Muse Abernathy Knight Chair in Journalism and Digital Media Economics The Center for Innovation and Sustainability in Local Media School of Media and Journalism University of North Carolina at Chapel Hill 2 | Will Local News Survive? Published by the Center for Innovation and Sustainability in Local Media with funding from the John S. and James L. Knight Foundation and the University of North Carolina at Chapel Hill Office of the Provost. Distributed by the University of North Carolina Press 11 South Boundary Street Chapel Hill, NC 27514-3808 uncpress.org Will Local News Survive? | 3 TABLE OF CONTENTS Preface 5 The News Landscape in 2020: Transformed and Diminished 7 Vanishing Newspapers 11 Vanishing Readers and Journalists 21 The New Media Giants 31 Entrepreneurial Stalwarts and Start-Ups 40 The News Landscape of the Future: Transformed...and Renewed? 55 Journalistic Mission: The Challenges and Opportunities for Ethnic Media 58 Emblems of Change in a Southern City 63 Business Model: A Bigger Role for Public Broadcasting 67 Technological Capabilities: The Algorithm as Editor 72 Policies and Regulations: The State of Play 77 The Path Forward: Reinventing Local News 90 Rate Your Local News 93 Citations 95 Methodology 114 Additional Resources 120 Contributors 121 4 | Will Local News Survive? PREFACE he paradox of the coronavirus pandemic and the ensuing economic shutdown is that it has exposed the deep Tfissures that have stealthily undermined the health of local journalism in recent years, while also reminding us of how important timely and credible local news and information are to our health and that of our community.
    [Show full text]
  • Mass-Mediated Canadian Politics: CBC News in Comparative Perspective
    Mass-Mediated Canadian Politics: CBC News in Comparative Perspective Blake Andrew Department of Political Science McGill University Leacock Building, Room 414 855 Sherbrooke Street West Montreal, QC H3A 2T7 blake.andrew at mcgill.ca *Paper prepared for the Annual General Meeting of the Canadian Political Science Association, Ottawa, Canada, May 27-29, 2009. Questions about news media bias are recurring themes of mainstream debate and academic inquiry. Allegations of unfair treatment are normally based on perceptions of inequality – an unfair playing field. News is dismissed as biased if people think that a political group or candidate is systemically advantaged (or disadvantaged) by coverage. When allegations of this nature surface, the perpetrator is usually one of three usual suspects: the media (writ large), a newsroom, or a medium (e.g. Adkins Covert and Wasburn 2007; D'Alessio and Allen 2000; Groeling and Kernell 1998; Niven 2002; Shoemaker and Cohen 2006). Headlines and stories are marshaled for evidence; yet the integrity of headlines as proxies for their stories is rarely considered as an avenue for testing and conceptualizing claims of media bias. It is common knowledge that headlines are supposed to reflect, at least to some degree in the space they have, the content that follows. Yet this myth has thus far received only sparse attention in social science (Althaus, Edy and Phalen 2001; Andrew 2007). It is a surprising oversight, partly because news headlines are clearly not just summaries. They also signal the importance of, and attempt to sell the news story that follows. The interplay of these imperatives is what makes a test of the relationship between headline news and story news particularly intriguing.
    [Show full text]
  • Ardour Export Redesign
    Ardour Export Redesign Thorsten Wilms [email protected] Revision 2 2007-07-17 Table of Contents 1 Introduction 4 4.5 Endianness 8 2 Insights From a Survey 4 4.6 Channel Count 8 2.1 Export When? 4 4.7 Mapping Channels 8 2.2 Channel Count 4 4.8 CD Marker Files 9 2.3 Requested File Types 5 4.9 Trimming 9 2.4 Sample Formats and Rates in Use 5 4.10 Filename Conflicts 9 2.5 Wish List 5 4.11 Peaks 10 2.5.1 More than one format at once 5 4.12 Blocking JACK 10 2.5.2 Files per Track / Bus 5 4.13 Does it have to be a dialog? 10 2.5.3 Optionally store timestamps 5 5 Track Export 11 2.6 General Problems 6 6 MIDI 12 3 Feature Requests 6 7 Steps After Exporting 12 3.1 Multichannel 6 7.1 Normalize 12 3.2 Individual Files 6 7.2 Trim silence 13 3.3 Realtime Export 6 7.3 Encode 13 3.4 Range ad File Export History 7 7.4 Tag 13 3.5 Running a Script 7 7.5 Upload 13 3.6 Export Markers as Text 7 7.6 Burn CD / DVD 13 4 The Current Dialog 7 7.7 Backup / Archiving 14 4.1 Time Span Selection 7 7.8 Authoring 14 4.2 Ranges 7 8 Container Formats 14 4.3 File vs Directory Selection 8 8.1 libsndfile, currently offered for Export 14 4.4 Container Types 8 8.2 libsndfile, also interesting 14 8.3 libsndfile, rather exotic 15 12 Specification 18 8.4 Interesting 15 12.1 Core 18 8.4.1 BWF – Broadcast Wave Format 15 12.2 Layout 18 8.4.2 Matroska 15 12.3 Presets 18 8.5 Problematic 15 12.4 Speed 18 8.6 Not of further interest 15 12.5 Time span 19 8.7 Check (Todo) 15 12.6 CD Marker Files 19 9 Encodings 16 12.7 Mapping 19 9.1 Libsndfile supported 16 12.8 Processing 19 9.2 Interesting 16 12.9 Container and Encodings 19 9.3 Problematic 16 12.10 Target Folder 20 9.4 Not of further interest 16 12.11 Filenames 20 10 Container / Encoding Combinations 17 12.12 Multiplication 20 11 Elements 17 12.13 Left out 21 11.1 Input 17 13 Credits 21 11.2 Output 17 14 Todo 22 1 Introduction 4 1 Introduction 2 Insights From a Survey The basic purpose of Ardour's export functionality is I conducted a quick survey on the Linux Audio Users to create mixdowns of multitrack arrangements.
    [Show full text]
  • Reuters Institute Digital News Report 2020
    Reuters Institute Digital News Report 2020 Reuters Institute Digital News Report 2020 Nic Newman with Richard Fletcher, Anne Schulz, Simge Andı, and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2020 4 Contents Foreword by Rasmus Kleis Nielsen 5 3.15 Netherlands 76 Methodology 6 3.16 Norway 77 Authorship and Research Acknowledgements 7 3.17 Poland 78 3.18 Portugal 79 SECTION 1 3.19 Romania 80 Executive Summary and Key Findings by Nic Newman 9 3.20 Slovakia 81 3.21 Spain 82 SECTION 2 3.22 Sweden 83 Further Analysis and International Comparison 33 3.23 Switzerland 84 2.1 How and Why People are Paying for Online News 34 3.24 Turkey 85 2.2 The Resurgence and Importance of Email Newsletters 38 AMERICAS 2.3 How Do People Want the Media to Cover Politics? 42 3.25 United States 88 2.4 Global Turmoil in the Neighbourhood: 3.26 Argentina 89 Problems Mount for Regional and Local News 47 3.27 Brazil 90 2.5 How People Access News about Climate Change 52 3.28 Canada 91 3.29 Chile 92 SECTION 3 3.30 Mexico 93 Country and Market Data 59 ASIA PACIFIC EUROPE 3.31 Australia 96 3.01 United Kingdom 62 3.32 Hong Kong 97 3.02 Austria 63 3.33 Japan 98 3.03 Belgium 64 3.34 Malaysia 99 3.04 Bulgaria 65 3.35 Philippines 100 3.05 Croatia 66 3.36 Singapore 101 3.06 Czech Republic 67 3.37 South Korea 102 3.07 Denmark 68 3.38 Taiwan 103 3.08 Finland 69 AFRICA 3.09 France 70 3.39 Kenya 106 3.10 Germany 71 3.40 South Africa 107 3.11 Greece 72 3.12 Hungary 73 SECTION 4 3.13 Ireland 74 References and Selected Publications 109 3.14 Italy 75 4 / 5 Foreword Professor Rasmus Kleis Nielsen Director, Reuters Institute for the Study of Journalism (RISJ) The coronavirus crisis is having a profound impact not just on Our main survey this year covered respondents in 40 markets, our health and our communities, but also on the news media.
    [Show full text]
  • (A/V Codecs) REDCODE RAW (.R3D) ARRIRAW
    What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format.
    [Show full text]
  • Free Download Sony Sound Forge for Windows 7 Sound Forge Windows 7 32Bit
    free download sony sound forge for windows 7 Sound forge windows 7 32bit. Most people looking for Sound forge windows 7 32bit downloaded: Sound Forge. Acclaimed for its power, stability, and exceptional workflow, Sound Forge is the best way to get from raw audio to a finished master. Sound Forge Audio Studio. Sound Forge™ Audio Studio has everything you need to edit and master professional-quality audio on your home computer. Similar choice. › Sonic sound forge 8.exe › Sound forge audio studio 10.0.exe › Sony sound forge 10 free pc software › Sound forge manager for windows › Sony sound forge windows 7 64 bit › Sound forge audio studio windows 7 ultimate free download. Programs for query ″sound forge windows 7 32bit″ NOD32. Fast and light, vital for gamers and everyday users that don’t want any interruptions. forget. Secures Windows , Mac and . Baidu Spark Browser. Baidu Spark Browser is an application that enables you to surf the Internet. pop-up window . Watching videos . Sony Preset Manager. The Preset Manager is now a standalone application that you can use to back up, transfer . for ACID, Sound Forge , and Vegas . packages in Sound Forge , Vegas, or . E-Z Contact Book. E-Z Contact Book is an easy-to-use yet powerful Windows program to store and manage contact information. yet powerful Windows program to . Eyes Relax. Eyes Relax is a tool that reminds you about taking those breaks. types, notification sounds and many . Filter Forge. Filter Forge is a powerful Photoshop plugin and a stand-alone desktop application for Windows and Mac OS X that allows .
    [Show full text]
  • Command-Line Sound Editing Wednesday, December 7, 2016
    21m.380 Music and Technology Recording Techniques & Audio Production Workshop: Command-line sound editing Wednesday, December 7, 2016 1 Student presentation (pa1) • 2 Subject evaluation 3 Group picture 4 Why edit sound on the command line? Figure 1. Graphical representation of sound • We are used to editing sound graphically. • But for many operations, we do not actually need to see the waveform! 4.1 Potential applications • • • • • • • • • • • • • • • • 1 of 11 21m.380 · Workshop: Command-line sound editing · Wed, 12/7/2016 4.2 Advantages • No visual belief system (what you hear is what you hear) • Faster (no need to load guis or waveforms) • Efficient batch-processing (applying editing sequence to multiple files) • Self-documenting (simply save an editing sequence to a script) • Imaginative (might give you different ideas of what’s possible) • Way cooler (let’s face it) © 4.3 Software packages On Debian-based gnu/Linux systems (e.g., Ubuntu), install any of the below packages via apt, e.g., sudo apt-get install mplayer. Program .deb package Function mplayer mplayer Play any media file Table 1. Command-line programs for sndfile-info sndfile-programs playing, converting, and editing me- Metadata retrieval dia files sndfile-convert sndfile-programs Bit depth conversion sndfile-resample samplerate-programs Resampling lame lame Mp3 encoder flac flac Flac encoder oggenc vorbis-tools Ogg Vorbis encoder ffmpeg ffmpeg Media conversion tool mencoder mencoder Media conversion tool sox sox Sound editor ecasound ecasound Sound editor 4.4 Real-world
    [Show full text]
  • Reference Manual
    1 6 - V O I C E R E A L A N A L O G S Y N T H E S I Z E R REFERENCE MANUAL February 2001 Your shipping carton should contain the following items: 1. Andromeda A6 synthesizer 2. AC power cable 3. Warranty Registration card 4. Reference Manual 5. A list of the Preset and User Bank Mixes and Programs If anything is missing, please contact your dealer or Alesis immediately. NOTE: Completing and returning the Warranty Registration card is important. Alesis contact information: Alesis Studio Electronics, Inc. 1633 26th Street Santa Monica, CA 90404 USA Telephone: 800-5-ALESIS (800-525-3747) E-Mail: [email protected] Website: http://www.alesis.com Alesis Andromeda A6TM Reference Manual Revision 1.0 by Dave Bertovic © Copyright 2001, Alesis Studio Electronics, Inc. All rights reserved. Reproduction in whole or in part is prohibited. “A6”, “QCard” and “FreeLoader” are trademarks of Alesis Studio Electronics, Inc. A6 REFERENCE MANUAL 1 2 A6 REFERENCE MANUAL Contents CONTENTS Important Safety Instructions ....................................................................................7 Instructions to the User (FCC Notice) ............................................................................................11 CE Declaration of Conformity .........................................................................................................13 Introduction ................................................................................................................ 15 How to Use this Manual....................................................................................................................16
    [Show full text]
  • Photo Editing
    All recommendations are from: http://www.mediabistro.com/10000words/7-essential-multimedia-tools-and-their_b376 Photo Editing Paid Free Photoshop Splashup Photoshop may be the industry leader when it comes to photo editing and graphic design, but Splashup, a free online tool, has many of the same capabilities at a much cheaper price. Splashup has lots of the tools you’d expect to find in Photoshop and has a similar layout, which is a bonus for those looking to get started right away. Requires free registration; Flash-based interface; resize; crop; layers; flip; sharpen; blur; color effects; special effects Fotoflexer/Photobucket Crop; resize; rotate; flip; hue/saturation/lightness; contrast; various Photoshop-like effects Photoshop Express Requires free registration; 2 GB storage; crop; rotate; resize; auto correct; exposure correction; red-eye removal; retouching; saturation; white balance; sharpen; color correction; various other effects Picnik “Auto-fix”; rotate; crop; resize; exposure correction; color correction; sharpen; red-eye correction Pic Resize Resize; crop; rotate; brightness/contrast; conversion; other effects Snipshot Resize; crop; enhancement features; exposure, contrast, saturation, hue and sharpness correction; rotate; grayscale rsizr For quick cropping and resizing EasyCropper For quick cropping and resizing Pixenate Enhancement features; crop; resize; rotate; color effects FlauntR Requires free registration; resize; rotate; crop; various effects LunaPic Similar to Microsoft Paint; many features including crop, scale
    [Show full text]