Bibliotecas De Edição Disponíveis Nos Softwares Editores De Áudio

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Bibliotecas De Edição Disponíveis Nos Softwares Editores De Áudio Josseimar Altissimo Conrad Bibliotecas de edição disponíveis nos softwares editores de áudio Ijuí 2014 Josseimar Altissimo Conrad Bibliotecas de edição disponíveis nos softwares editores de áudio Trabalho apresentado ao curso de Ciência da Computação da Universidade Regional do No- roeste do Estado do Rio Grande do Sul , como requisito para a obtenção do título de Bacharel em Ciência da Computação. Universidade Regional Do Noroeste Do Estado Do Rio Grande Do Sul Departamento Das Ciências Exatas E Engenharias Ciência Da Computação Orientador: Edson Luiz Padoin Ijuí 2014 Josseimar Altissimo Conrad Bibliotecas de edição disponíveis nos softwares editores de áudio Trabalho apresentado ao curso de Ciência da Computação da Universidade Regional do No- roeste do Estado do Rio Grande do Sul , como requisito para a obtenção do título de Bacharel em Ciência da Computação. Trabalho aprovado. Ijuí, ( ) de dezembro de 2014: Edson Luiz Padoin Orientador Rogério Samuel de Moura Martins Convidado Ijuí 2014 Dedico este trabalho primeiramente a Deus, pois sem Ele, nada seria possível e não estaríamos aqui reunidos, desfrutando, juntos, destes momentos que nos são tão importantes. Aos meus pais Ilvo Conrad e Rosani Altissimo Conrad; pelo esforço, dedicação e compreensão, em todos os momentos desta e de outras caminhadas.. Agradecimentos Primeiramente a Deus pois ele deu a permissão para tudo isso acontecer, no decorrer da minha vida, e não somente nestes anos como universitário, mas em todos os momentos é o maior mestre que alguém pode conhecer. A esta universidade, seu corpo docente, direção e administração que oportunizaram a janela que hoje vislumbro um horizonte superior, eivado pela acendrada confiança no mérito e ética aqui presentes. Agradeço a todos os professores por me proporcionar o conhecimento não apenas racional, mas a manifestação do caráter e afetividade da educação no processo de formação profissional, por tanto que se dedicaram a mim, não somente por terem me ensinado, mas por terem me feito aprender. A palavra mestre, nunca fará justiça aos professores dedicados aos quais sem nominar terão os meus eternos agradecimentos. Aos meus pais, pelo amor, incentivo e apoio incondicional. A todos que direta ou indiretamente fizeram parte da minha formação, o meu muito obrigado. "O sucesso nasce do querer, da determinação e persistência em se chegar a um objetivo. Mesmo não atingindo o alvo, quem busca e vence obstáculos, no mínimo fará coisas admiráveis." (José Alencar) Resumo Este trabalho relata sobre as bibliotecas presentes nos softwares de edição de áudio com melhor custo benefício e que possuam todas as funcionalidades para a edição do áudio. O objetivo deste trabalho é embasar a tomada de decisão na escolha da biblioteca de edição para a produção de novos softwares de edição de áudio mais específicos que proporcionam uma experiência de usuário mais agradável e intuitiva. Para atingir o objetivo do trabalho será realizado uma pesquisa e algumas comparações, tanto as encontradas em sites ou artigos, livros e eBooks dos softwares editores de áudio como também a sua evolução. O resultado alcançado foi a melhor biblioteca de edição encontrada no software com um melhor custo benefício, equiparando-os com os melhores softwares proprietários de edição de áudio. Para aferir o software com melhor custo benefício devemos verificar a linha do tempo do áudio e, assim, analisar e entender como começou o processo de gravação, como foi o processo para a edição do áudio sem o uso de software até os tempos atuais com a utilização dos mesmos. Logo depois de verificar os conceitos utilizados para a análise de áudio, os melhores formatos, o que são as frequências audíveis, como a conversão é feita, e as comparações entre os editores de software de áudio feitos com alguns conceitos analisados e finalmente, identificar a melhor biblioteca de edição de áudio utilizada. Palavras-chaves: Bibliotecas de áudio, edição de áudio, formatos de áudio, história do áudio. Abstract This work reports on the libraries present in editing audio editing software more cost effective and having all the features for audio editing. The aim of this work is informed decision-making in the choice of editing library for the production of new editing software more specific audio que Provide the user experience more enjoyable and intuitive. To Achieve the objective research and comparisons, found on websites, articles, books and eBooks from publishers audio software and its whole evolution redbourn place. The expected outcome is to determine what the best library edition found in the most cost-effective software, equating it with the best proprietary audio editing software. To ascertain que the most cost-effective software had to navigate the timeline of the audio and Thus analyze and Understand how the story Began the recording process, the process was the editing is the audio without the use of software. Soon after learning the concepts used for analyzing audio, the best formats, Which the audible frequencies, such as the conversion is done, Then being comparisons between publishers audio software made by some concepts Analyzed and finally Identifying the best library edition audio que They use. par Keywords: Libraries audio, audio editing, audio formats, audio story Lista de ilustrações Figura 1 – Phonautograph ............................... 17 Figura 2 – Phonograph e Gramophone ........................ 17 Figura 3 – Disco de Vinil ................................ 18 Figura 4 – Figura de Microfone ............................ 19 Figura 5 – Gravador Stereo............................... 19 Figura 6 – Como era a Edição de Áudio sem software . 21 Figura 7 – Som Analógico com pontos de amostragem ............... 29 Figura 8 – Som Analógico convertido para digital................... 30 Figura 9 – Onda Analógica sendo convertida para digital .............. 31 Figura 10 – Sinal Digital sendo convertida para analógico............... 32 Figura 11 – Efeito do Som no Humor.......................... 33 Figura 12 – Gráfico de Frequência X Nível Sonoro .................. 34 Figura 13 – Intensidade de algumas situações..................... 34 Figura 14 – Comparando várias funcionalidades dos softwares . 42 Figura 15 – Esquema de funcionamento do software (??)............... 54 Figura 16 – Captura de Tela da etapa de “Seleção de Tarefa” do software (??) . 55 Figura 17 – Preparação de gravação .......................... 56 Figura 18 – Iniciando a Gravação............................ 56 Figura 19 – Fazendo a edição.............................. 57 Figura 20 – Perfil ouvintes no Brasil .......................... 76 Lista de tabelas Tabela 1 – Formatos de arquivo de áudio....................... 23 Tabela 2 – Comparando os Formatos de arquivo de áudio.............. 24 Tabela 3 – Formatos e sua data de criação...................... 26 Tabela 4 – Tipos de DVD................................ 27 Tabela 5 – Tipos de HD-DVD ............................. 27 Tabela 6 – Tipos de BLU-RAY ............................. 27 Tabela 7 – Tabela de Comparação entre editores de áudio formatos para importação disponíveis ................................. 39 Tabela 8 – Tabela de Comparação entre formatos de áudio que os softwares supor- tam ..................................... 40 Tabela 9 – Tabela de Comparação entre Importações de bibliotecas de edição de áudio .................................... 41 Tabela 10 – Tabela de Comparação entre processamento de arquivos em CPU normal e GPU paralela............................... 48 Tabela 11 – Tabela do tamanho das edições de áudio................. 57 Tabela 12 – Tabela de testes da ferramenta na edição de áudio com tamanho em MB 59 Tabela 13 – Tabela da média de testes da ferramenta na edição de áudio com tama- nho em MB ................................. 59 Tabela 14 – Linha do tempo do áudio.......................... 65 Tabela 15 – Linha do Tempo do áudio, como foi sua evolução ............ 73 Lista de abreviaturas e siglas ADAT Alesis Digital Audio Tape ADC Analog/Digital Converter AES Audio Engineering Society CD Compact Disc CPU unidade central de processamento CUDA É uma plataforma de computação paralela e um modelo de programação inventados pela NVIDIA DCC Digital Compact Cassette D/A Conversor Digital/Analógico EUA Estados Unidos da América FLAC Free Lossless Audio Codec GPU unidade de processamento gráfico IRE Instituto de Engenheiros de Rádio MIDI É uma tecnologia padronizada de comunicação entre instrumentos mu- sicais e equipamentos eletrônicos (teclados, guitarras, sintetizadores, sequenciadores, computadores, samplers, etc), possibilitando que uma composição musical seja executada, transmitida ou manipulada por qual- quer dispositivo que reconheça esse padrão. MP3 MPEG-1 Layer 3 PCM Pulse Code Modulation RCA Radio Corporation of America VHS Video Home System VBR Variable Bit Rate WAV Formato-padrão de arquivo de áudio da Microsoft e IBM para armazena- mento de áudio em computadores. Sumário 1 INTRODUÇÃO................................ 13 1.1 Justificativa ................................ 14 1.2 Objetivos .................................. 14 1.2.1 Objetivos Gerais............................... 14 1.2.2 Objetivos Específicos............................ 14 1.3 Organização do trabalho ......................... 15 2 ESTADO DA ARTE - ÁUDIO........................ 16 2.1 Histórico ................................... 16 2.2 Formatos .................................. 22 2.2.1 Comparação entre os formatos de áudio.................. 23 2.3 Forma de armazenamento de áudio
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