Name Description
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Lossless Audio Codec Comparison
Contents Introduction 3 1 CD-audio test 4 1.1 CD's used . .4 1.2 Results all CD's together . .4 1.3 Interesting quirks . .7 1.3.1 Mono encoded as stereo (Dan Browns Angels and Demons) . .7 1.3.2 Compressibility . .9 1.4 Convergence of the results . 10 2 High-resolution audio 13 2.1 Nine Inch Nails' The Slip . 13 2.2 Howard Shore's soundtrack for The Lord of the Rings: The Return of the King . 16 2.3 Wasted bits . 18 3 Multichannel audio 20 3.1 Howard Shore's soundtrack for The Lord of the Rings: The Return of the King . 20 A Motivation for choosing these CDs 23 B Test setup 27 B.1 Scripting and graphing . 27 B.2 Codecs and parameters used . 27 B.3 MD5 checksumming . 28 C Revision history 30 Bibliography 31 2 Introduction While testing the efficiency of lossy codecs can be quite cumbersome (as results differ for each person), comparing lossless codecs is much easier. As the last well documented and comprehensive test available on the internet has been a few years ago, I thought it would be a good idea to update. Beside comparing with CD-audio (which is often done to assess codec performance) and spitting out a grand total, this comparison also looks at extremes that occurred during the test and takes a look at 'high-resolution audio' and multichannel/surround audio. While the comparison was made to update the comparison-page on the FLAC website, it aims to be fair and unbiased. -
Skype for Asterisk™ Administrator Manual
Skype for Asterisk™ Administrator Manual 601-00017 Rev. B2 Digium, Inc. 445 Jan Davis Drive NW Huntsville, AL 35806 United States Main Number: 1.256.428.6000 Tech Support: 1.256.428.6161 U.S. Toll Free: 1.877.344.4861 Sales: 1.256.428.6262 www.asterisk.org www.digium.com www.asterisknow.org © Digium®, Inc. 2010 All rights reserved. No part of this publication may be copied, distributed, transmitted, transcribed, stored in a retrieval system, or translated into any human or computer language without the prior written permission of Digium, Inc. Digium, Inc. has made every effort to ensure that the instructions contained in this document are adequate and error free. The manufacturer will, if necessary, explain issues that may not be covered by this documentation. The manufacturer’s liability for any errors in the documents is limited to the correction of errors and the aforementioned advisory services. This document has been prepared for use by professional and properly trained personnel, and the customer assumes full responsibility when using it. Adobe and Acrobat are registered trademarks, and Acrobat Reader is a trademark of Adobe Systems Incorporated. Asterisk, Digium, Switchvox, and AsteriskNOW are registered trademarks and Asterisk Business Edition, AsteriskGUI, and Asterisk Appliance are trademarks of Digium, Inc. Any other trademarks mentioned in the document are the property of their respective owners. Digium, Inc. Page 2 TABLE OF CONTENTS Chapter 1: Overview.................................................................................................................6 -
Download Media Player Codec Pack Version 4.1 Media Player Codec Pack
download media player codec pack version 4.1 Media Player Codec Pack. Description: In Microsoft Windows 10 it is not possible to set all file associations using an installer. Microsoft chose to block changes of file associations with the introduction of their Zune players. Third party codecs are also blocked in some instances, preventing some files from playing in the Zune players. A simple workaround for this problem is to switch playback of video and music files to Windows Media Player manually. In start menu click on the "Settings". In the "Windows Settings" window click on "System". On the "System" pane click on "Default apps". On the "Choose default applications" pane click on "Films & TV" under "Video Player". On the "Choose an application" pop up menu click on "Windows Media Player" to set Windows Media Player as the default player for video files. Footnote: The same method can be used to apply file associations for music, by simply clicking on "Groove Music" under "Media Player" instead of changing Video Player in step 4. Media Player Codec Pack Plus. Codec's Explained: A codec is a piece of software on either a device or computer capable of encoding and/or decoding video and/or audio data from files, streams and broadcasts. The word Codec is a portmanteau of ' co mpressor- dec ompressor' Compression types that you will be able to play include: x264 | x265 | h.265 | HEVC | 10bit x265 | 10bit x264 | AVCHD | AVC DivX | XviD | MP4 | MPEG4 | MPEG2 and many more. File types you will be able to play include: .bdmv | .evo | .hevc | .mkv | .avi | .flv | .webm | .mp4 | .m4v | .m4a | .ts | .ogm .ac3 | .dts | .alac | .flac | .ape | .aac | .ogg | .ofr | .mpc | .3gp and many more. -
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. -
Sangoma T116 16-Span T1/E1/J1 Tapping Board
Sangoma T116 16-Span T1/E1/J1 Tapping Board Dedicated tapping solution for up to 8 two-way connections or 16 one-way connections. The T116 Tapping Card is part of Sangoma’s family of Advanced Flexible Telecommunications hardware product line — it uses the same high-performance PCI Express interface that is providing superior performance in critical systems all over the world. The T116 supports the passive tapping of up to 240 voice calls using up to 16 T1, E1 or J1 spans. With Sangoma cards, you can take advantage of hardware and software improvements, as soon as they become available. The T116, like all cards in Sangoma’s AFT family, is eld upgradable with unbreakable rmware. Choose the T116 to collect call control information, telecom protocol information and voice/media. T116 Card Features Sixteen receive-only spans with Supports Robbed Bit Channel optimum PCI-Express interface Associated Signaling (CAS) and ISDN enables tapping of sixteen one-way PRI or eight two-way conversation T1/E1 and fractional T1/E1, multiple Support for Asterisk®, Yate®, and channel HDLC per line for mixed 5 Year warranty on parts and labor FreeSWITCH® PBX/IVR Projects, as data/TDM voice applications well as other open source and Supports the passive tapping of up proprietary PBX, Switch, IVR, or VoIP WANPIPE® routing stack is to 240 voice calls using up to 16 gateway applications completely independent of TDM T1, E1 or J1 spans voice application for total system Optimized per channel DMA streams reliability and hardware-level HDLC handling Field -
Lossless Audio Codec Comparison
Contents Introduction 3 1 Test setup 4 1.1 Scripting and graphing . .4 1.2 Codecs and parameters used . .5 1.3 WMA, RealAudio and ALAC . .6 2 CD-audio test 8 2.1 CD's used . .8 2.2 Results all CD's together . .9 2.3 Interesting quirks . 12 2.3.1 Mono encoded as stereo (Dan Browns Angels and Demons) 12 2.4 Convergence of the results . 15 3 High-resolution audio 17 3.1 Nine Inch Nails' The Slip . 17 3.2 Howard Shore's soundtrack for The Lord of the Rings: The Re- turn of the King . 20 3.3 Wasted bits . 22 4 Multichannel audio 24 4.1 Howard Shore's soundtrack for The Lord of the Rings: The Re- turn of the King . 24 A Motivation for choosing these CDs 27 Bibliography 31 2 Introduction While testing the efficiency of lossy codecs can be quite cumbersome (as results differ for each person), comparing lossless codecs is much easier. As the last well documented and comprehensive test available on the internet has been a few years ago, I thought it would be a good idea to update. Beside comparing with CD-audio (which is often done to assess codec perfor- mance) and spitting out a grand total, this comparison also looks at extremes that occurred during the test and takes a look at 'high-resolution audio' and multichannel/surround audio. While the comparison was made to update the comparison-page on the FLAC website, it aims to be fair and unbiased. Because of this, you'll probably won't find anything that looks like conclusions: test results are displayed and analysed, but there is no judgement or choice made. -
Voip Tutorial
VoIP and FreeBSD The daemon meets the phone May 15th, 2008 University of Ottawa, , Ottawa, Canada Massimiliano Stucchi [email protected] May 16th, 2007, Agenda • Introduction • Terms • Introduction to Asterisk key concepts • Let's connect to a provider • What's a dialplan ? • How cool is an IVR... • (if time permits) AGI overview 2 Who am I ? • First of all, good morning • I’m Max, nice to meet you all • I worked on VoIP and FreeBSD for the last 3,5 years implementing technologies for businesses large and small • I’m now working at BrianTel Srl, delivering voice services over geographical Wi-Fi Networks (more on this @ other talk) Why am I doing this ? • VoIP is business, but you have to know how to deal with it (and have right equipment) • It's not rocket science, but it's a totally different environment for computer professionals • I have some deal of experience • I don't feel the need to keep others from doing what I do 1000's miles away • It's fun ! Let’s start • A few questions to let me understand the level of knowledge of the class • If you have any question further on, raise your hand at any time any time TERMS Terms 1/5 • Direct Inward Dial • It's a real PSTN number which lets the call into your VoIP system. • Normally works on a PRI DID • It's normally intended as a phone number • Can be bought from many different providers and forwarded to your asterisk box via any provider Terms 2/5 • Voice Circuit (may carry data as well) • Can carry either 24 (T1) or 30 (E1) b- channels (audio) and 1 d-channel (for data communication across peers). -
(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. -
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 -
Neufuzz: Efficient Fuzzing with Deep Neural Network
Received January 15, 2019, accepted February 6, 2019, date of current version April 2, 2019. Digital Object Identifier 10.1109/ACCESS.2019.2903291 NeuFuzz: Efficient Fuzzing With Deep Neural Network YUNCHAO WANG , ZEHUI WU, QIANG WEI, AND QINGXIAN WANG China National Digital Switching System Engineering and Technological Research Center, Zhengzhou 450000, China Corresponding author: Qiang Wei ([email protected]) This work was supported by National Key R&D Program of China under Grant 2017YFB0802901. ABSTRACT Coverage-guided graybox fuzzing is one of the most popular and effective techniques for discovering vulnerabilities due to its nature of high speed and scalability. However, the existing techniques generally focus on code coverage but not on vulnerable code. These techniques aim to cover as many paths as possible rather than to explore paths that are more likely to be vulnerable. When selecting the seeds to test, the existing fuzzers usually treat all seed inputs equally, ignoring the fact that paths exercised by different seed inputs are not equally vulnerable. This results in wasting time testing uninteresting paths rather than vulnerable paths, thus reducing the efficiency of vulnerability detection. In this paper, we present a solution, NeuFuzz, using the deep neural network to guide intelligent seed selection during graybox fuzzing to alleviate the aforementioned limitation. In particular, the deep neural network is used to learn the hidden vulnerability pattern from a large number of vulnerable and clean program paths to train a prediction model to classify whether paths are vulnerable. The fuzzer then prioritizes seed inputs that are capable of covering the likely to be vulnerable paths and assigns more mutation energy (i.e., the number of inputs to be generated) to these seeds. -
Pipewire: a Low-Level Multimedia Subsystem
Proceedings of the 18th Linux Audio Conference (LAC-20), SCRIME, Université de Bordeaux, France, November 25–27, 2020 PIPEWIRE: A LOW-LEVEL MULTIMEDIA SUBSYSTEM Wim Taymans ∗ Principal Software Engineer Red Hat, Spain [email protected] ABSTRACT 2. LINUX AUDIO LANDSCAPE PipeWire is a low-level multimedia library and daemon that facili- Audio support on Linux first appeared with the Open Sound System tates negotiation and low-latency transport of multimedia content be- (OSS) [6] and was until the 2.4 kernel the only audio API available tween applications, filters and devices. It is built using modern Linux on Linux. It was based around the standard Unix open/close/read- infrastructure and has both performance and security as its core de- /write/ioctl system calls. sign guidelines. The goal is to provide services such as JACK and OSS was replaced by the Advanced Linux Sound Architecture PulseAudio on top of this common infrastructure. PipeWire is media (ALSA) [7]from Linux 2.5. ALSA improved on the OSS API and agnostic and supports arbitrary compressed and uncompressed for- included a user space library that abstracted many of the hardware mats. A common audio infrastructure with backwards compatibility details. The ALSA user-space library also includes a plugin infras- that can support Pro Audio and Desktop Audio use cases can poten- tructure that can be used to create new custom devices and plugins. tially unify the currently fractured audio landscape on Linux desk- Unfortunately, the plugin system is quite static and requires editing tops and workstations and give users and developers a much better of configuration files. -
A Sound Server for DROPS
Großer Beleg A Sound Server for DROPS Christoph Müller 2nd March 2006 Technische Universität Dresden Fakultät Informatik Institut für Systemarchitektur Professur Betriebssysteme Betreuender Hochschullehrer: Prof. Dr. rer. nat. Hermann Härtig Betreuender Mitarbeiter: Dipl.-Inf. Christian Helmuth Erklärung Hiermit erkläre ich, dass ich diese Arbeit selbstständig erstellt und keine anderen als die angegebenen Hilfsmittel benutzt habe. Dresden, den 2. März 2006 Christoph Müller Contents 1 Introduction 1 2 State Of The Art 3 2.1 Operating Systems . 3 2.1.1 Linux . 3 2.1.2 Mac OS X . 3 2.1.3 Windows . 4 2.2 Drivers . 4 2.2.1 OSS . 4 2.2.2 ALSA . 5 2.3 Sound Servers . 5 2.3.1 aRtsd . 6 2.3.2 ESD . 6 2.3.3 JACK . 6 2.4 Plugin architectures . 6 2.4.1 VST . 6 2.4.2 LADSPA . 6 2.4.3 JACK . 7 2.5 Already existing solutions for DROPS .................... 7 2.5.1 OSS library . 7 2.5.2 DDE26 . 7 2.5.3 dsound . 8 2.5.4 DSI . 8 3 Design 9 3.1 Objectives . 9 3.2 Overview . 9 3.3 Interfaces . 12 3.3.1 Rack . 14 3.3.2 Component . 14 3.4 Libraries . 15 3.4.1 Rack . 15 3.4.2 Component . 16 3.5 ALSA Sink . 16 3.6 More Sinks . 17 V Contents 3.7 Mixing Server . 18 3.8 Player . 18 4 Implementation 19 4.1 Component Library . 19 4.2 ALSA Sink . 19 4.2.1 alsa-kernel-core . 20 4.2.2 alsa-kernel .