Audio Coding: Basics and State of the Art
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Acoustica-Mp3-Audio-Mixer-Manual.Pdf
Acoustica Registration Overview Quick Start Version History Using MP3 Audio Mixer Working with Sounds Working with Sound Groups Main Window Exporting to MP3, WMA, WAV, or Realaudio™ Preferences Troubleshooting Menu Reference File Edit Sound Group Sound Menu Toolbar Copyright and Ownership Notices MP3 Audio Mixer © Copyright 1998-2002 Acoustica. All Rights Reserved. Includes Xaudio software Copyright © 1996-2002 Xaudio Corporation. All Rights Reserved. RealAudio® encoding components © 1996-2002 by Real Networks, Inc. Windows Media Format © 2000-2002 Microsoft Corporation. All rights reserved. Quick Start So you want to get started in a hurry? Follow "SoundWarrior" through the steps to MP3 Audio Mixer mastery! 1. Start MP3 Audio Mixer SoundWarrior double clicks the MP3 Audio Mixer icon on his desktop. Okay, we could have left this step out. J 2. Drag in some sounds. SoundWarrior has a good sound of a cave-woman scream called arghhh1.wav. The sound is located in "c:\cavescreams\", which he finds, and then drags the sound’s icon onto the MP3 Audio Mixer window. See working with sounds. 3. Drag in some more sounds. SoundWarrior also drags in stampede.wav, the sound of a herd of Mastodons stampeding by his cave. Finally, he drags in an MP3 called "rockrolls.mp3", some of the latest music from "The Stoners" 4. Make a recording if you want. SoundWarrior hits the record button and the record dialog comes up. He punches the record button on the dialog and screams into his microphone "You make fire now! I make fire yesterday!" He then hits the stop button, previews the sound and saves it as "me_talk1.wav". -
Audio Coding for Digital Broadcasting
Recommendation ITU-R BS.1196-7 (01/2019) Audio coding for digital broadcasting BS Series Broadcasting service (sound) ii Rec. ITU-R BS.1196-7 Foreword The role of the Radiocommunication Sector is to ensure the rational, equitable, efficient and economical use of the radio- frequency spectrum by all radiocommunication services, including satellite services, and carry out studies without limit of frequency range on the basis of which Recommendations are adopted. The regulatory and policy functions of the Radiocommunication Sector are performed by World and Regional Radiocommunication Conferences and Radiocommunication Assemblies supported by Study Groups. Policy on Intellectual Property Right (IPR) ITU-R policy on IPR is described in the Common Patent Policy for ITU-T/ITU-R/ISO/IEC referenced in Resolution ITU-R 1. Forms to be used for the submission of patent statements and licensing declarations by patent holders are available from http://www.itu.int/ITU-R/go/patents/en where the Guidelines for Implementation of the Common Patent Policy for ITU-T/ITU-R/ISO/IEC and the ITU-R patent information database can also be found. Series of ITU-R Recommendations (Also available online at http://www.itu.int/publ/R-REC/en) Series Title BO Satellite delivery BR Recording for production, archival and play-out; film for television BS Broadcasting service (sound) BT Broadcasting service (television) F Fixed service M Mobile, radiodetermination, amateur and related satellite services P Radiowave propagation RA Radio astronomy RS Remote sensing systems S Fixed-satellite service SA Space applications and meteorology SF Frequency sharing and coordination between fixed-satellite and fixed service systems SM Spectrum management SNG Satellite news gathering TF Time signals and frequency standards emissions V Vocabulary and related subjects Note: This ITU-R Recommendation was approved in English under the procedure detailed in Resolution ITU-R 1. -
Detail Streaming Support Protocols
Encore+ User Guide Detail Streaming Support Protocols Supported Audio Codecs Supported Container Formats • MP3 • WAV • AAC • M4A • FLAC • OGG • LPCM/WAV/AIFF • AIFF • ALAC Supported Protocols • WMA, WMA9 • SHOUTcast • Ogg Vorbis • HTTPS Supported Playlist • WMA streaming • ASX • RTSP/SDP • M3U • PLS • WPL 43 Detail Audio Codec Support Encore+ User Guide Supported MP3 encoding parameters • Sampling rates [kHz]: 32, 44.1, 48 • Resolution [bits]: 16 • Bit rate [kbps]: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256, 320, VBR • Channels: stereo, joined stereo, mono • MP3PRO playback • MP3 File extensions: *.mp3 • Decoding of ID3v1, ID3v2, MP3 ID tags including optional album art in .jpeg format up to 2 megapixels • Gapless MP3: Playback is gapless if the container provides LAME encoder delay and padding tags. Supported Vorbis encoding parameters • Sampling rates [kHz]: 32, 44.1, 48 • Resolution [bits]: 16 • Nominal bit rate [kbps] (quality level): 80 (Q1), 96 (Q2), 112 (Q3), 128 (Q4), 160 (Q5), 192 (Q6), • Channels: stereo • The audio player supports reading of Vorbis content stored in Ogg containers. Supported file name extensions: *.ogg and *.oga. • The audio player supports decoding of Vorbis comments. NOTE: There is no specification for tag names. The system relies on the OSS implementation. • Tag names decoded: TITLE, ALBUM, ARTIST, GENRE. • Binary data (e.g. for album art) is not supported. • The audio player supports gapless Vorbis playback. Supported FLAC encoding parameters • Sampling rates [kHz]: 44.1, 48, 88.2, 96, 176.4, 192 • Resolution [bits]: 16, 24 • Channels: stereo, mono • The audio player supports reading of FLAC content stored in native FLAC containers. -
Realaudio and Realvideo Content Creation Guide
RealAudioâ and RealVideoâ Content Creation Guide Version 5.0 RealNetworks, Inc. Contents Contents Introduction......................................................................................................................... 1 Streaming and Real-Time Delivery................................................................................... 1 Performance Range .......................................................................................................... 1 Content Sources ............................................................................................................... 2 Web Page Creation and Publishing................................................................................... 2 Basic Steps to Adding Streaming Media to Your Web Site ............................................... 3 Using this Guide .............................................................................................................. 4 Overview ............................................................................................................................. 6 RealAudio and RealVideo Clips ....................................................................................... 6 Components of RealSystem 5.0 ........................................................................................ 6 RealAudio and RealVideo Files and Metafiles .................................................................. 8 Delivering a RealAudio or RealVideo Clip ...................................................................... -
Ogg Audio Codec Download
Ogg audio codec download click here to download To obtain the source code, please see the xiph download page. To get set up to listen to Ogg Vorbis music, begin by selecting your operating system above. Check out the latest royalty-free audio codec from Xiph. To obtain the source code, please see the xiph download page. Ogg Vorbis is Vorbis is everywhere! Download music Music sites Donate today. Get Set Up To Listen: Windows. Playback: These DirectShow filters will let you play your Ogg Vorbis files in Windows Media Player, and other OggDropXPd: A graphical encoder for Vorbis. Download Ogg Vorbis Ogg Vorbis is a lossy audio codec which allows you to create and play Ogg Vorbis files using the command-line. The following end-user download links are provided for convenience: The www.doorway.ru DirectShow filters support playing of files encoded with Vorbis, Speex, Ogg Codecs for Windows, version , ; project page - for other. Vorbis Banner Xiph Banner. In our effort to bring Ogg: Media container. This is our native format and the recommended container for all Xiph codecs. Easy, fast, no torrents, no waiting, no surveys, % free, working www.doorway.ru Free Download Ogg Vorbis ACM Codec - A new audio compression codec. Ogg Codecs is a set of encoders and deocoders for Ogg Vorbis, Speex, Theora and FLAC. Once installed you will be able to play Vorbis. Ogg Vorbis MSACM Codec was added to www.doorway.ru by Bjarne (). Type: Freeware. Updated: Audiotags: , 0x Used to play digital music, such as MP3, VQF, AAC, and other digital audio formats. -
Preview - Click Here to Buy the Full Publication
This is a preview - click here to buy the full publication IEC 62481-2 ® Edition 2.0 2013-09 INTERNATIONAL STANDARD colour inside Digital living network alliance (DLNA) home networked device interoperability guidelines – Part 2: DLNA media formats INTERNATIONAL ELECTROTECHNICAL COMMISSION PRICE CODE XH ICS 35.100.05; 35.110; 33.160 ISBN 978-2-8322-0937-0 Warning! Make sure that you obtained this publication from an authorized distributor. ® Registered trademark of the International Electrotechnical Commission This is a preview - click here to buy the full publication – 2 – 62481-2 © IEC:2013(E) CONTENTS FOREWORD ......................................................................................................................... 20 INTRODUCTION ................................................................................................................... 22 1 Scope ............................................................................................................................. 23 2 Normative references ..................................................................................................... 23 3 Terms, definitions and abbreviated terms ....................................................................... 30 3.1 Terms and definitions ............................................................................................ 30 3.2 Abbreviated terms ................................................................................................. 34 3.4 Conventions ......................................................................................................... -
Centauri II Multichannel Audio Gateway Codec – a New Generation Conquers the Control-Room
Centauri II Multichannel Audio Gateway Codec conquers the Control-room.– a new generation New! D 6ms Latency D 5.1 / 7.1 Multichannel D Front-panel Hot Keys D Gateway Function D Backup Function D Twin/Quad Codec D ASI Most Audio-Codecs are specialists. The CENTAURI II simply enables you to do everything. An unbeatable range of features makes the CENTAURI II simpler, safer and more cost-effective to use than any other codec. The CENTAURI II is your universal Audio cover the entire range currently in general Considering the extensive system support Codec for every imaginable project. use. Including MPEG, AES Transparent it is clear that the CENTAURI II is an and APT – simultaneously! audio codec for all situations. Whether for There are no networks that can stop a By other manufacturers this would still be Broadcasting, for DVB-H or UMTS trans- CENTAURI II, whether ISDN or Ethernet, a legitimate question but by MAYAH this missions, to name but a few. has long been possible. X.21 or E1. There are no protocols that In light of so much technical sophistica- the CENTAURI II cannot understand. This Combinations of its many and versatile tion, it’s hardly surprising to learn that codec can be simply and easily integrated features permit a wide range of applica- the CENTAURI II is also the first audio into every imaginable IT infrastructure. tions; from Gateway, Backup Codec or codec to offer professional 5.1/7.1 multi- And its more than 15 coding algorithms Streaming-Server to Multichannel Codec. channel transmissions. -
Compression for Great Video and Audio Master Tips and Common Sense
Compression for Great Video and Audio Master Tips and Common Sense 01_K81213_PRELIMS.indd i 10/24/2009 1:26:18 PM 01_K81213_PRELIMS.indd ii 10/24/2009 1:26:19 PM Compression for Great Video and Audio Master Tips and Common Sense Ben Waggoner AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier 01_K81213_PRELIMS.indd iii 10/24/2009 1:26:19 PM Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK © 2010 Elsevier Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions . This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this fi eld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. -
Audio Encoding Audio Encoding Supriyanto [email protected] IINDENDEKKSS
ADU SOFTWARE Berita | Ulasan | Adu Software | Utama | Bisnis | Apa Sih Sebenarnya... | Tutorial Audio Encoding Audio Encoding Supriyanto [email protected] IINDENDEKKSS AUDIO ENCODING ABCDE 27 Grip 27 Jack 28 KAudioCreator 28 ripperX 29 Sound Juicer 29 anyak kalangan musisi yang men- Bicara mengenai berbagai format audio gatakan kalau musik atau lagu adalah digital yang ada saat ini, sebenarnya ada be- Kriteria pengujian: bahasa yang universal. Pendapat itu berapa format audio digital lain selain MP3. Kali ini kami menguji enam buah aplika- B mungkin ada benarnya, karena kalau kita li- Format audio digital lainnya itu, antara lain si audio ripping dan encoding yang ada di hat musik itu tidak mengenal batas wilayah AA, AAC, FLAC, MP3Pro, WMA, dan OGG. Linux. Sama seperti pengujian yang telah dan negara. Hampir setiap penduduk di Dari beberapa format di atas, FLAC dan dilakukan, kami tetap menggunakan em- setiap negara memiliki kesenangan pada OGG merupakan format audio digital yang pat kriteria sebagai bahan penilaian. Kriteria musik. Pada era 60-an pun, konser musik open source. Sehingga tidak perlu terbentur pertama adalah fungsionalitas. Sebuah pro- The Beatles dan Koes Plus sudah dipenuhi masalah lisensi untuk menggunakannya. Hal gram audio ripping dan encoding, harus oleh para penggemar musik. ini jelas berbeda dengan penggunaan format dapat berfungsi dengan baik pada beberapa Kalau kita lihat peningkatan teknolo- MP3 yang dikontrol lisensinya oleh Thomson tool encoder yang di-support. Dan untuk kri- gi audio untuk mendengarkan lagu, sudah Consumer Electronics. teria pertama, kami memberikan porsi yang banyak sekali peningkatan yang dicapai. Dalam “Adu Software” kali ini, kami cukup besar, yaitu 35%. -
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). -
4. MPEG Layer-3 Audio Encoding
MPEG Layer-3 An introduction to MPEG Layer-3 K. Brandenburg and H. Popp Fraunhofer Institut für Integrierte Schaltungen (IIS) MPEG Layer-3, otherwise known as MP3, has generated a phenomenal interest among Internet users, or at least among those who want to download highly-compressed digital audio files at near-CD quality. This article provides an introduction to the work of the MPEG group which was, and still is, responsible for bringing this open (i.e. non-proprietary) compression standard to the forefront of Internet audio downloads. 1. Introduction The audio coding scheme MPEG Layer-3 will soon celebrate its 10th birthday, having been standardized in 1991. In its first years, the scheme was mainly used within DSP- based codecs for studio applications, allowing professionals to use ISDN phone lines as cost-effective music links with high sound quality. In 1995, MPEG Layer-3 was selected as the audio format for the digital satellite broadcasting system developed by World- Space. This was its first step into the mass market. Its second step soon followed, due to the use of the Internet for the electronic distribution of music. Here, the proliferation of audio material – coded with MPEG Layer-3 (aka MP3) – has shown an exponential growth since 1995. By early 1999, “.mp3” had become the most popular search term on the Web (according to http://www.searchterms.com). In 1998, the “MPMAN” (by Saehan Information Systems, South Korea) was the first portable MP3 player, pioneering the road for numerous other manufacturers of consumer electronics. “MP3” has been featured in many articles, mostly on the business pages of newspapers and periodicals, due to its enormous impact on the recording industry. -
The H.264 Advanced Video Coding (AVC) Standard
Whitepaper: The H.264 Advanced Video Coding (AVC) Standard What It Means to Web Camera Performance Introduction A new generation of webcams is hitting the market that makes video conferencing a more lifelike experience for users, thanks to adoption of the breakthrough H.264 standard. This white paper explains some of the key benefits of H.264 encoding and why cameras with this technology should be on the shopping list of every business. The Need for Compression Today, Internet connection rates average in the range of a few megabits per second. While VGA video requires 147 megabits per second (Mbps) of data, full high definition (HD) 1080p video requires almost one gigabit per second of data, as illustrated in Table 1. Table 1. Display Resolution Format Comparison Format Horizontal Pixels Vertical Lines Pixels Megabits per second (Mbps) QVGA 320 240 76,800 37 VGA 640 480 307,200 147 720p 1280 720 921,600 442 1080p 1920 1080 2,073,600 995 Video Compression Techniques Digital video streams, especially at high definition (HD) resolution, represent huge amounts of data. In order to achieve real-time HD resolution over typical Internet connection bandwidths, video compression is required. The amount of compression required to transmit 1080p video over a three megabits per second link is 332:1! Video compression techniques use mathematical algorithms to reduce the amount of data needed to transmit or store video. Lossless Compression Lossless compression changes how data is stored without resulting in any loss of information. Zip files are losslessly compressed so that when they are unzipped, the original files are recovered.